#im just saying from the audiences perspective its so hard for me to see 2015 dnp as like. a relationship

[phlondsbian]

ppl posting the fanfic scenes from tatinof to show that they Did seem like they fucked back in the day… sorry but that does not prove the point to me. that is the most sanitized Two Bros Making Jokes About Shipping thing i’ve ever seen. the most intense they get during that show is when they made eye contact during the internet is here. at least during tit when they make fun of shipping they have the decency to rawdog onstage

[theoriesontheory]

The Making of - ‘Disney’s Hyperfantasia’ - Sal Viejo

How do you (or I) write a cathartic song? The more I look at this question the more it becomes increasingly simple and complicated in my mind. On one hand, I know how to do it. I’ve done it for three years as Sal Viejo, listened to cathartic music from other bands and watched performances that sent waves of catharsis through the room. You just do it. On the other hand, saying “you (or I) just do it” is an answer that is unsatisfying, and I know that there have been times where I have been unable to write a cathartic song where the advice “just do it” would have sent me into a rage. So, I decided to write a cathartic song, as I have done before but this time, using autoethnographic research methods, explore my process not only documenting what I was doing but reflecting on the parts of my real life that went into the song.

Catharsis as a feeling is difficult to define, especially from an academic perspective. An interesting note from some of my reading into music therapy is that the music we listen to shapes our lives and experience. (Barnes, 2013) Continuing from this idea, Barnes points out a case where a neuropsychologist was struggling down the side of a mountain with a broken leg and eleviated some of the mental strain and pain by focusing on a song. (ibid.) Looking specifically for references to catharsis I found an explanation of the phenomenon in a film text, “Catharsis is Aristotle’s term for the experience of audiences at the end of tragedy – overwhelming feelings of sorrow, pity, or some other strong emotions caused by the representation of tragic and piteous events… Aristotle and most of his commentators agree that catharsis, whatever it is, occurs to the beneficial effect of the audience.” (Plantinga, 2009) I feel that mainstream media has changed the meaning of the cathartic experience, in that rather than leaving stories on tragic endings, the trend is to send the crowd home happy. There has been a trend in media to end stories on more tragic notes recently, in my view closer to how things end in real life, Breaking Bad is a great recent example. Tying the two ideas together now, when looking for information on catharsis through music, there proved to be some gaps in the literature. There are discussions of how works have been performed in contexts that have made them cathartic, (Ansari, 2013) how communities use musicking to cope with their economic and social stresses (Stamatis, 2015) and even how music is being used in physiotherapy sessions, showing the role of psychology in pain treatment and management. (le Roux, 1998) My approach to this question hinges on creating a song that provides some level of catharsis, either for me or the listener. Despite my reading, coming to a clear and understood definition of catharsis seems difficult and thus, I think it makes sense to g to the original, Aristotelian definition as provided by Plantinga, overwhelming feelings at the end of a tragedy.

My understanding of autoethnography as a research method comes from some time considering it in the course of my honours and masters study up to this point. One of the core elements that draws me to it is my understanding that at the core of the research is the individual and their creative work (in the context of creative autoethnographic projects). Adams, Jones and Elis describe autoethnography as practice that; uses a researchers personal experience in describing and critiquing culture, acknowledges and values the reasearchers relationships, uses reflexivity – reflecting on the way the individual interacts with the world, shows “people in the process of figuring out what to do, how to live, and the meaning of their struggles”, balances emotional and intellectual work and strives to make the world better. (2014)

I was inspired to write in this way by David Carless whose paper Throughness was the first autoethnographic study of song writing that I came across. In reviewing the literature there were many papers focused on performance or composition of art music pieces but when looking for contemporary song writing used as autoethnography the field was sparse. In this paper Carless asks many of the same questions I face myself,

“How do we write songs as qualitative research? What kinds of processes matter when writing a song? What can we do to support and nurture these processes? What might we draw upon when writing songs about our own or another’s life? And how is it that culture, politics and personal biography can become so powerfully entwined in a song?” (2018)

In answering these questions Carless submits a series of Diary entries that they call a story that details the specific moments where the creation of the song was happening as well as their personal reflection on their own song writing process. In a similar way, I have been drawing from a journal I use specifically to write thoughts I have when I am in a negative mental headspace for lyrics and ideas and building songs up around them. Unlike Carless’ work, I will be covering not only the song writing process but also the process of cutting together a demo version of the song for release on Bandcamp. In putting together my story I will be including transcriptions of events based on my personal notes and my memory, images from my journal and other writing and personal reflections, some of which will touch on themes of self-harm, depression, and suicide. Please read in a safe mental place and look after yourself. If you need help, please seek it:

Lifeline: 13 11 14 Beyond Blue: 1300224636 Suicide Call Bank Service 1300659467 Process: In late July of 2021 I found myself experimenting with chords in open D after having uploaded a cover of Hot Mulligan’s I Fell in Love with Princess Peach. Open D feels like such a powerful tuning, so easy to get big brash sounds. I have been avoiding writing in alternate tunings because the idea of tuning on stage stresses me out, but I have a show coming up and want to play that Hot Mulligan cover to impress someone I think might be there so to justify the tuning I figured I would try and write another song using it.

I always have way more chords or instrumental parts for songs before I have lyrics. I find that I will often even have a vague melody line that I can hum or make random syllables around while I play the parts on my guitar. I have been trying to just say the first thing that comes to mind, trusting the part of my brain that knows what good lyrics sound like to figure something out under pressure, but I have found this process works best with some stimulation.

My mental health is something I have struggled with, largely in silence for my life, since probably my mid to late teens. I was on medication for a while, it didn’t go so well (see twelve) and since then have been trying to come to terms with my mental health through mindfulness, mediation, and introspection. PLEASE NOTE I AM NOT A MEDICAL PROFESSIONAL AND DO NOT ADVISE THIS. GO AND SEEK PROFESSIONAL HELP BEFORE UNDERTAKING ANY CHANGES TO MEDICATION OR TREATMENT. One way I have done this is by having a specific journal to write in on nights where I feel I am having particularly negative thoughts, the idea being that when I have these thoughts, I find they tend to circulate inside my head and writing them down is a way that I can get them out of my head. Additionally, it allows me to go back and reflect on the patterns of thinking and try and figure out where they come from. On one night, I’m going to guess late June, early July based on my memory I was having negative thoughts that led me to write down this across two pages

Transcription: Im sick of all my friends being worried.

No matter how hard I try I can’t see what comes next Static the cards the stars everything Static

I wish I could still dream, maybe I could if there was a future to see

Why do I keep seeing myself in a carcrash?

When I drive around at night I think about driving into the side of the road. Not really thinking about it but it just happening. I feel Like I’ve done it. I feel like I am doing it. It’s beautiful, its silent. I am calm. No more thinking.

I DON’T WANT TO DIE YET (the word “breathe” is written five times through the lines underneath the statement)

One day at a time -Next Page- (a crude single line drawing of a sunset over an ocean above the margin)

I clearly need to go talk to someone

Most of the time i feel like I look normal –

Everyone is suffering, its easier to pretend Its harder to tell the people you love youreinpainbecausetheycant… (I can’t read what I wrote) Head feels like static

Trying to fill the noise Beniah knows too

Amy asked if I was doing ok I said yes I don’t think she believes me anymore I hate the Look in their Eyes when they See me Everyone knows youre sick Can’t have them know… (I can’t read what I wrote) I think Im doing ok now

I feel like I am good at adjusting to how I feel. Didn’t go for a drive

Remembering parts of this night I know that I didn’t write all of this at once. The first page was written largely at the same time, the second page in bursts, idea by idea, sometimes writing new ideas in and around older ones, writing more frantically. I feel like there are two stories being told here, on the first page, an internal negative feeling, I have never told anyone about the car thing until releasing this song. The second page, the negative feelings growing and being self-aware about wanting to appear ok around my friends and housemates and feeling that pressure.

So now I had a couple of pages of personal emotional outpourings, some chords that I like the sound of and a quest to make a song cathartic. More important to me than how cathartic the song is, as with all my song writing, is that it was honest so in sorting through my scribblings I wanted to put together an accurate representation of my mind at the time. I first jotted down what felt like the most unique imagery to me, the false memories of being in a car crash and coming to terms with that. I am not sure what it means, but it is scary at times. I thought that because it is such a unique experience that detailing might be an interesting part of the song and thus the pre-chorus and chorus were put together. I had the melody of the chorus on a voice memo on my phone when working on the guitar part and I remember thinking to myself, for such happy chords the melody was lending itself to something almost being howled out, it felt like a question almost. After I had written the pre-chorus and chorus the next thing that felt natural to do was to frame the response to that statement which is the second verse. Reflecting on the pages, a lot of my worries on the second page seemed focused on how my friends and the ones I care about perceive me. I think this is a common feeling for people who struggle with their mental health and something that I am less concerned with when I am not in a negative mental space. The lyricism in the second verse is intentionally a little frantic, I wanted it to mimic in a small way how my mind can jump from idea to idea. I always find opening songs difficult; I think it’s important as a songwriter to have an impactful first few lines, especially in a song that is being made with the intent of an emotional experience in listening to it. I decided to borrow the writing style from some of my favourite US mid-western emo bands who often frame difficult to swallow truths in upbeat melodic phrasing and whimsical turns of phrase. A quite extreme example can be heard on The Front Bottoms’ “Father” which opens with some quite graphic imagery and is about the lead singers strained and complex relationship with his father, but I have seen people cheer and sing and dance along when the song is played live. And so, I decided to be very honest about the background of the feelings, maintaining some semblance of the narrative that I am ok while showing really that I am not, heading into the pre-chorus. The bridge was the last section to come together, both musically and lyrically. The rest of the piece was pretty much put together and being fine polished as far as vocal phrase lengths and how I would play the guitar part. The lyrics for the bridge started as what could have been a verse, describing the images but I decided that the pre-chorus was a more functional way of doing that, introducing the idea in a semi-palatable way. I knew I would close the song with the bridge (potentially put a chorus at the end) and decided to add some weight to the end of the work, almost like a Shakespearian tragedy, everyone dies at the end. I don’t think I make it feel like there is death at the end of the piece but the way I stack the layers of the pre-chorus and bridge sections before cutting right at the end to the first line of the pre-chorus was designed to add to the emotional impact at the end. Initially the guitar part for the bridge was more complex, I wanted to try and show that I was a good guitar player and had been practicing. This led me to retuning the guitar to Open D to come up with a pretty and impressive riff. I had a few ideas but in the context of playing solo and recording a demo I want the core guitar part, the part I play, to be something that I can do while I sing and give an overall engaged performance, which I’m not quite good enough to do with impressive guitar bits yet.

Lyrics: I feel well adjusted, sometimes I feel fine, or I lie which I know I shouldn’t do to my friends But we all pretend, because it’s easier than admitting how scared we are Have I told you about the weird thing that happened the other night in my car?

I’ve been seeing pictures, almost like memories in my head Of me losing control, on the free way And it plays in slow motion And the strangest thing about it to me always is

I don’t scream I don’t scream

I know I worry you, I’m worried too don’t think I want to die yet Look at the sunset, take a deep breath, hold on for one more day I’m ok, that’s what I say but I don’t think you believe me Static on the TV, looks like my tea leaves, Don’t worry about me

I’ve been seeing pictures, almost like memories in my head Of me losing control, on the free way And it plays in slow motion But the strangest thing about it to me always is

I don’t scream I don’t scream I don’t scream I don’t scream

As I watch bumper meet divider, Sparks and metal fly up Into the night sky I wonder how it would feel I wonder how it feels to…

As I watch bumper meet divider, I’ve been seeing pictures, Sparks and metal fly up almost like memories in my head Into the night sky of me losing control I wonder how it would feel on the freeway I wonder how it feels to… And it plays in slow motion But the strangest thing about it to me always is

As I watch bumper meet divider, I don’t Scream Sparks and metal fly up Into the night sky I wonder how it would feel I don’t scream I wonder how it feels to…

I’ve been seeing pictures, almost like memories in my head

Once the song was structured, I began practicing it, getting ready to cut a demo to put out into the world. In practicing it, I found the song easier to engage with on some days rather than other. I make recordings of me playing new songs so I can remember how they go at later dates but also to watch back and think about melodic choices and I found on one particular day while I could technically perform the song ok, I know I had played it better in the past. I have this relationship with most of the Sal Viejo songs that are about hard things from my life. I can perform most of them at the drop of a hat, but I know the performance is better when I am in the right mental place. I find it is a fine balance between being where you were during those hard times, but still able to perform. I feel like ‘Sal Viejo’ almost acts like a mediator sometimes, an outside observer who can sing about these things because they didn’t live through them, they saw them happen.

Heading into the day of recording I was a little stressed. Not only was I recording something still pretty fresh with the intention of sharing it to the world, but I also had just moved, had just gotten out of quarantine due to a secondary covid contact, was working a new job and had lots of uni work to do. I started the day by going and getting a coffee, thinking about the song as I went on my morning walk. My thoughts were mostly about the melody, the chords, the rhythm but also, I was beginning to make some mental adjustments to get me to the place I felt like I needed to be. When I got home, I had the intention of going slowly, setting up at my own pace and warming up but I felt the compulsion to just get it done. I started with guitar tracking, taking a signal from a mic set up near the body of the guitar and a line from the guitar, through an acoustic reverb pedal. It was during the guitar tracking process that I realised I had to simplify the line in the bridge. To get the timing right, I was playing to a metronome and singing to myself to figure out where the chord hits were and realised that I couldn’t actually play the part and sing, making it useless for live shows. After I finished the guitar did a quick mix and took lunch. I decided that I would try some vocals, but I didn’t know how they would go. I started singing and quickly realised that the phrasing would prove difficult and so I would have to punch in some of the sections. I found this really challenging because a part of the emotional engagement with the song comes from singing whole phrases, not just particular lines. What I decided to do was do multiple, full length takes, each one hitting the entrance of a section and cut it together. This meant that I could stay in the right emotional place while performing for recording and worry about the engineering side later. I wanted the mix to be fairly transparent for the demo, wanting people to hear the emotion and the story without too much distraction. I cut the vocals together and did a mix that I felt like let the vocals pierce through enough while still feeling tied to the guitar. There is a charm in the small amounts of string buzz and mic popping in the demo for me, in the mixing process I tried to get rid of some of it but decided that macro level edits would take away some of the human delivery. One decision I did make at this point was editing the lryics. The original lyric in the bridge was, “I wonder how it would feel, I wonder how it feels to die” I thought that the impact of that phrase would be increased if that word was censored, as subtly as possible but in a way that leaves listeners hanging on what the end of the phrase is. There are clues in the rhyming structure and content around it and you can figure it out if you listen to it, also I don’t know that I necessarily want a song in the world where I am explicitly asking what death feels like, I don’t know that I am at that level of openness as a songwriter yet.

In the rush of creative energy, I also cut a DIY, proof of concept music video which I attached the master of the song to which can be watched and heard here.

View this post on Instagram

A post shared by Sal Viejo (@sal_viejo)

Reflections: Digging into my song writing process has proved an interesting and at times challenging experience. In many ways I think I was fortunate to already have the bones of the song together before I started approaching the writing and making of the song as research as I don’t know that I could have been as honest in my lyricism knowing that I might have to explain where it came from. One observation I made is, through digging through the emotional distress that lies at the heart of this song, I found myself having cathartic emotional responses, forcing myself to consider where my songs come from. Also, as I practiced I found that having the research idea and the goal of catharsis beneficial as I made performance choices. I am unsure whether or not I have definitively answered the question, ‘how does one write a cathartic song?’ But in conducting this autoethnographic study of my process of writing a song with catharsis in mind I think I have answered, here is one way that I can do it.

References:

Adams, T. E., Holman, J. S., & Ellis, C. (2014). Autoethnography. ProQuest Ebook Central

Ansari, E., A. (2013) “Vindication, cleansing, catharsis, hope”: interracial reconciliation and the dilemmas of multiculturalism in Kay and Dorr’s Jubilee (1976). American Music, 31 (4), https://go-gale-com.saeezproxy.idm.oclc.org/ps/retrieve.do?tabID=T002&resultListType=RESULT_LIST&searchResultsType=SingleTab&hitCount=1&searchType=AdvancedSearchForm&currentPosition=1&docId=GALE%7CA401094780&docType=Critical+essay&sort=RELEVANCE&contentSegment=ZEAI-MOD1&prodId=EAIM&pageNum=1&contentSet=GALE%7CA401094780&searchId=R1&userGroupName=saeinstitute&inPS=true

Barnes, H. (Ed.). (2013). Arts activism, education, and therapies : Transforming communities across africa. ProQuest Ebook Central

 Carless, D. (2018). “Throughness”: A Story About Songwriting as Auto/Ethnography. Qualitative Inquiry, 24(3), 227–232. https://doi.org/10.1177/1077800417704465

le Roux, F. (1998). Music: A new intergrated model in physiotherapy. South African Journal of Physiotherapy, 54(2), 10-11. doi:https://doi.org/10.4102/sajp.v54i2.593

Plantinga, C. (2009). Moving viewers : American film and the spectator's experience. ProQuest Ebook Central

[affilatemarket0]

Video Marketing Tips And Strategies

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The Ultimate Guide To Video Marketing

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8 Powerful Reasons You Need To Use Video Marketing

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Marketing Can Help Boost Your Business …

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Business Benefits Of Video Marketing: Why Use Video For Business

5 Video Marketing Tips To Skyrocket …

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The post Video Marketing Tips And Strategies appeared first on IM Tutor Club – Affiliate Marketing.

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[allofbeercom]

The brave new world of the xx, pop’s brooding perfectionists

Solo success, confronting grief, sobering up the feted London trio talk frankly about how the events of the past four years informed their new album, I See You

The three members of the xx cross from Poland into Lithuania overnight, trying to sleep inside a bus that judders and lurches along an uneven border road. It is December, an unforgiving time to be touring eastern Europe, and snow that was coming in committedly when they left Warsaw still falls when they arrive in Vilnius, the Lithuanian capital. Its cold here, beer-jacket weather, hot-toddy weather, get-messed-up-after-the-gig-to-distract-from-the-bite weather. But the band Oliver Sim, Romy Madley Croft, Jamie Smith travel in good, sober order. They toured their first album, in 2010, blinkingly, greenly, through a fog of personal tragedy. Two years later they got through a second-album tour mostly by partying wherever they went. (Moving from encore to after-show chasing the night, as the band phrase it in a new song, Replica.) When we meet, the release of album number three, I See You, is looming. For various reasons they expect to take this one around the world in steadier, less emotionally hectic fashion.

Arriving in central Vilnius at 10am, the trio alight from the tour bus and teeter over icy pavement, straight to their hotel rooms for some extra sleep. Im in the lobby waiting for them when they emerge, one by one, at midday. Sim (27 years old, bassist and co-vocalist) appears in a splendid fur-lapelled coat. His enormous green eyes lend him at once a striking handsomeness as well as the perpetual suggestion of worry. More so than Sim, Madley Croft (27, lead guitar and vocals) is dressed for her terrain: leather boots, hoodie, black-camo raincoat, a hat over her dark shoulder-length hair. A stitched image on the hat is faded and hard to distinguish and when I ask her what it is she answers in a soft, whistling voice: Three babies dancing. She says she found the hat in a skate shop somewhere. Smith (28, percussion and production) might have found his entire outfit in a Sports Direct somewhere. He comes down in Nike T-shirt, Adidas trackies, his copper curls sprouting over the strap of a backwards-turned cap.

Theres something drastic and strange about Smiths appearance that takes a moment for me to identify. Hes smiling. I find this hard to reconcile with our last encounter.

In the hotel lobby, the band and I reminisce about meeting last time, more than four years ago, when I shadowed them for a couple of days as they toured through Los Angeles. They were about to debut Coexist, their second album, high in the British and American charts. Their first album, xx, had won the Mercury prize in the UK and gone gold in the US. Its sound sexily gnomic lyrics sung huskily over precise and chilly synths was exerting a blatant influence on the music industry, imitators of the xx springing up all over the place. Now Baz Luhrmann was courting them for one of his soundtracks, and he showed up one night in Hollywood to buy rounds of drinks. The band went to after-parties backstage at the Ford theatre, by the pool at the Chateau Marmont, on the roof of a downtown hotel.

Watch the video for the xxs single On Hold.

I remember the experience for the hilarious difficulty of interviewing Smith, who was then emerging as the silent genius of the group, an unfeasibly talented engine-room operator who was responsible for so much of their musics distinctive and influential texture. At the time he betrayed none of the weight or assurance of someone with great and growing industry clout. Instead he seemed to trust that if he stayed quiet enough during our encounters I might forget he was there.

These days Smith tells stories, tells jokes. While he speaks he taps his fingers in time to some imagined and apparently buoyant interior music. If theres a reticence to him, still, it transmits as a cooler and more grown-up nonchalance. Life, is his deadpan explanation for the transformation. I went from being 23 to 28. It happens to everyone. Perhaps theres a little more to say. Under his solo stage name, Jamie xx has long tended a fertile sideline as a DJ and a producer of other artists work. In summer 2015 he released an album of his own, In Colour, that was enough of a hit to fuel a substantial world tour. He was nominated for the Mercury and Grammy awards. Its easy to see how much Jamies changed, says Madley Croft. Its obvious, because of his personal career hes more confident.

Sim and Madley Croft made guest appearances on their friends solo record. But this was very much Smiths project, one that had been building up for quite a while, and its gestation contributed directly to the years-long wait between the xxs second and third albums. The band started writing material for I See You as long ago as 2014. But the finish line, as Sim describes it, kept getting pushed further away into the future. He is diplomatic about the difficulty of Jamie just not being available. Even though he was really pushing himself, and not giving himself time off, getting face-time with him was tricky. Smith is apologetic. I was busy doing my thing. It was going well. I was happy in that way. But I was also anxious about finishing our [group] record. I definitely felt bad, coming and going. And I did understand that Romy and Oliver were really anxious to finish it. Because they didnt have They obviously had things going on. But they didnt have a creative outlet.

The band get ready to leave the hotel for an afternoon of rehearsals. Before we spill out into taxis I take Sim out of earshot of the other two, and ask: What about jealousy? We cant always rely on ourselves, as humans, to be perfectly delighted by our friends achievements. What did you and Romy really feel while Jamie was flying solo?

There were moments when I felt jealous of his time, Sim says.

And of his success?

Sim speaks carefully. I think of jealousy as: I dont want you to have this. And I felt proud of Jamie. I felt pleased for him that he had all of this going on. But, at the same time, I wanted this. Me and Romy wanted this. We wanted to be back up there, on stage, with a fire lit underneath us.

The trio strongly believe the hiatus has been beneficial to their music. I agree. After his secondment in a more dancefloor-orientated world, Smith has brought back with him to the xx a sense of pace and playfulness, obvious from the very first hands-in-the-air bars of the new record. Across its length the album has a brewed, stewy, experience-enriched quality, subtly but importantly different from the older stuff, which always had terrific clarity but which could lack human warmth.

From a bald commercial perspective the bands absence does not seem to have unduly alienated the fanbase. All tickets for seven nights at Londons Brixton Academy in March recently sold out. Still, there have been some surreal moments for Sim and Madley Croft during their semi-enforced sabbatical. They describe to me how bizarre it felt, trotting along to watch Smith play alone at Brixton, a spiritual home of sorts for the xx and a place they had played many times together. Only now two-thirds of the band were stood among the audience craning like everyone else to see over the next head.

Rehearsals are taking place at the venue for tonights show, a mid-sized arena on the outskirts of Vilnius. I ride there in a cab with Madley Croft, who has a digital camera and takes occasional pictures of the bleak winter landscape. Touring, she says, means seeing countries through the windows of cars. Tomorrow the band will fly to Japan. After that Australia, then Scandinavia, and eventually back for those Brixton dates and four other UK shows. They were on a killer tour the last time we met too. Then, they spoke to me about how strange an existence it was, their every need taken care of while they moseyed from encore to after-party. They made it sound cloying but also comforting, cocoon-ing, in Madley Crofts phrase. At the time I wondered what the effects might be, of the long tour finishing and all the machinery of the band falling away, leaving them to their own devices again.

It took an adjustment, Madley Croft says, of varying degrees for the three of them. She thinks Sim probably found it the hardest. Oliver, to me, is the natural performer of the band. I know he gets a lot of confidence from performing. And I sensed he might not be quite sure what his place was, for a while, when we were off stage. For herself, Madley Croft used the time away to address private matters shed ignored for some time. Stuff from the past. Losses Ive had. It all kind of hit me.

Smith, AKA Jamie xx, playing Londons Hyde Park last summer. Because of his personal career, hes more confident, says bandmate Photograph: RMV/Rex/Shutterstock

Wed touched lightly on this in Los Angeles her difficult backstory, intimately and pretty cruelly interwoven with the backstory of her band. She was only 11, in 2001, when her mother died. (This was a few years before she started writing music with Sim a friend from school in Putney, London as a form of escapism.) Her father died in early 2010 when she was 20. (By now, with Smith, another schoolfriend, the three were established as the xx. They were performing an early show in Paris when the news about Madley Crofts father reached them.) Towards the end of 2010 a close friend of hers, a cousin, died too. (The band had just won the Mercury and were becoming quite famous.) By the time I met them all in Los Angeles, Madley Croft was 22. Shed barely stopped touring or recording since her double bereavement in 2010, and I got the sense of a young woman putting a lot on hold.

The last few years have been, for me, about facing all of it, she explains. At the time I just went for it. Encore, after-party, encore, after-party. Its only on reflection I think how intense everything must have been, and how I just pushed it down. But everything comes up. Ive learned that everything comes up.

When we met before she was in the first months of a relationship with a designer, Hannah Marshall, who was then travelling with the band. They were sweet together, newly and sorely inked with matching tattoos patently in deep, even though Madley Croft seemed a little awkward in a public setting, as if she was getting used to her band-life and love-life intermingling. When we first got together Hannah was always so much better in social situations than me. I felt so shy. But through being with her I feel so much more at ease. Ive noticed thats happened in a different way with me than it has with the boys. And I know its because Ive been with someone.

The couple recently got engaged. It was the stability of the relationship, Madley Croft says, that gave her the grounding she needed to look squarely at her past. She went from pushing down thoughts about her parents to actually kind of craving going to therapy and dealing with it… Its an ongoing thing, she says. I feel like Ive dealt with a chunk. With a hell of a lot more than I ever did before. And the self-examination has borne creative fruit. Right in the middle of the xxs new album comes its tenderest and most nakedly spiritual track, Brave for You, a song that Madley Croft wrote about drawing strength from the memory of her parents.

We pull into the car park of the venue, sure weve got the right place because we can see the steaming figure of Sim, shivering in his coat, smoking a cigarette. Together he and Madley Croft clomp inside, shed their layers, and walk to the stage. She takes up her Les Paul guitar, he his Fender, and behind them on an elevated platform Smith finds his place among an array of mixers and synthesisers. Performing for an empty arena, they play a few old songs and a couple of newer ones, including Brave for You. Smith taps out a high rhythmic pulse. Sim waits for his moment to apply some bass. Madley Croft closes her eyes and sings: When Im scared/ I imagine you there/ Telling me to be brave

Madley Croft with her fiancee, designer Hannah Marshall. Photograph: David M Benett/Getty Images for Equipment

The rehearsal lasts a long time: hours. I perch with Smith in his mixing station and watch over his shoulder as the trio pick through 20-odd songs. Sometimes the noise, ringing off the exposed concrete of the arena, is tremendous. During uptempo songs Smith starts dancing, big-stepping in time like a cowboy at a line dance, thrashing his head like a metalhead in a mosh pit. Impossible to imagine, Madley Croft says, the old Jamie doing this.

Sim, frowning, the least at ease on stage today, unsticks a printed set list from the floor. He thinks back to the previous gig in Poland and says: Oh. I spoke in the wrong place last night. After a lifetime trying to maintain belief in the spontaneity of artist-to-audience banter, its a little shattering for me to learn that the xx arrange their chatty interludes in advance. But these guys are precision workers, broody perfectionists; and theyre rusty in their stagecraft after so long apart. When they rehearse a mid-gig spectacular of mashed-up songs, the music builds and builds, smoke machines gushing, some glorious climax imminent until at the clinching moment Smith slaps a button on his mixer and a deafening error-sound hums around the arena.

Everyone flinches. Argggh, shouts Smith. The mixer is unplugged and hauled away in machine-disgrace. The band take a break. Smith consults a roadie about a replacement. Sim drifts off stage. Madley Croft picks up her phone and taps out a message to someone.

Im starting to see that these three took very different paths away from their last album. Madley Croft into domestic stability and a worked-for interior peace. Smith into self-affirming solo work. Sims route took him where? He has always been the xxs most elliptical member, a charming if skittish, ambiguous interviewee. Unlike Madley Croft he has resisted overt statements about his sexuality. And the particulars of his family background, apparently as troubled as hers, remain much more opaque. When the New Yorker published a deep-digging profile of the band in 2014, the reporter was obliged to include a vague line about Sims early life, which was scarred by family dysfunction that he declines to discuss. Madley Croft has grown over time into openness, Smith into sureness. Sim seems still on his way somewhere.

Maybe theres a clue in the new music. I See You has a couple of tracks that come over as more direct and less cryptic than anything else in the bands back catalogue. A Violent Noise, for example, seems to be about partying too much, overdoing it (Youve been staying out late/ Trying your best to escape). In a subsequent track, Replica, chiefly written and sung by Sim, it sounds as if an unnamed parent is being addressed: Ive turned out just like you They all say I will become a replica/ [That] your mistakes were only chemical 25 and youre just like me Is it in my nature to be stuck on repeat?

Photograph: Suki Dhanda for the Observer

Away from the rehearsal I sit down with Sim and tell him the lyrics to Replica register, to me at least, as a kind of confession. A child of addiction, growing up to worry he has become an addict himself, wondering if the problem is unavoidable and hereditary or whether he can go down a different path. Does that sound accurate?

Sim, his large eyes open to their fullest extent, stares over my head for a while. Then he clears his throat and says: Um. Well. Thats kind of bang on, your reading.

He takes a breath. Yeah. Just kind of That was a big thing to deal with, over the past couple of years. Just kind of dealing with my relationship with using [drugs]. With drinking. And, um. And also my parents. Yeah. He says its a shock to realise that the private matters underlying this song have come over so plainly. This conversation is a bit of an eye-opener.

He started writing Replica, he says, a couple of years ago. Before I was taking any action. Or saying anything out loud. The bands 2012 tour had finished. The pace we were moving at stopped, suddenly. It was a pretty flaky existence Yknow, I left school thinking I wanted to live my life like a nomad, free-floating. Turns out I absolutely need some kind of structure. Living back in London again, structure-less, he thought of his drinking and drug-taking as blowing off steam. Later, I started to wonder if it was still charming to be the drunkest person in a room.

His decision to seek help took a while. A long, drawn-out decision. Smith was away gigging. Madley Croft was travelling the US with her girlfriend. I felt a bit lost. The schoolfriends all describe this period end of 2014, start of 2015 as the farthest apart theyd been from one another, geographically but emotionally too. As Madley Croft puts it: We werent in tune. Jamie was on tour. Oliver wasnt being entirely truthful with me about what he was going through. Walls were up.

When they did regather, Sim brought them the lyrics to Replica. Madley Croft recalls the moment. I thought: This is very real. Even though everything we do is real, this felt more transparent? It felt brave. And I loved that he let me in, to discuss it.

Sim makes it sound inevitable it should be writing, rather than talking, that helped bring down the walls between the band. Im a lot better and braver in songwriting than I am in conversation.

He says he has noticed, of course, how much his two friends have evolved in recent years. Theyve come on in leaps and bounds. He says he feels more sluggish in his own progress, a bit stunted People are like, So Jamies done his record and toured the world. What have you done? To be honest, Ive just been at home, figuring stuff out. He doesnt seem to realise that hes made the most progress of everyone. I ask him how long hes been sober.

Watch the video for the xxs Say Something Loving.

Eleven months, he says.

And?

And lifes been transitional, he says, smiling shyly. Quite a shift. Tonights show in Vilnius, for instance, the fifth of the current tour, will be the fifth show hes done in his career without drink. Its why I dont maybe feel so confident here. I dont have that support. I dont have my booze blanket. Everything feels more raw.

Are you happier?

Im. He stops and considers. Im Yes, I am happy. Im sort of adjusting to a different pace of life. But yeah, Im good. I feel anxious. About the next year [of touring], and being away from home. I wonder how its going to play out. But Im excited too. He might be about to experience the beginnings of a music career for a second time. I realise I was never entirely present before. Booze took away the nerves. But it also, like, definitely capped the highs. If hes sacrificed some self-confidence, he says, at least hes gained some self-understanding. Madley Croft agrees. I think hes getting to know himself. Who he is, as a 27-year-old, not as a performer on stage, but in life. Im really proud of him.

Soon enough their rehearsal resumes. Theres not long to go until the show now, and fans are beginning to appear in the snow outside. The band practise what will be the nights final run of songs. They try Intro, one of the first things they ever wrote together, as well as a new track, a happy-sad doozy called On Hold, which explores the ways in which life can seem to move at different speeds for different people. Transitioning from the old song to the new, Smith turns a dial on his mixer. Madley Croft steps forward and sings her half of the shared lyrics, Sim his. Then they sway, gently, by their mic stands.

At the end of the song the two guitarists lay down their instruments. Smith tidies his things. Madley Croft walks around taking a few photographs of the arena before it fills with people. Sim, before he leaves the stage, attaches a small light to his microphone stand. So that hell be able to find his way back to it, later, in the dark.

I See You is out now on Young Turks. The xx play UK shows from 4-17 March

from All Of Beer http://allofbeer.com/the-brave-new-world-of-the-xx-pops-brooding-perfectionists/