By Murray, PNP Staffer
He’s seventeen and on an international tour with his label.
Have you heard of XXYYXX?
A couple of months ago, I stumbled onto this artist in the height of my progressive trance/house fandom, a very upbeat and almost poppy genre.
XXYYXX’s music is what one blogger calls “spacey, R&B-infused, future bass, beat music.” It is experimental yet accessible. It pulled me in despite my prior inexperience/ambivalence to the softer side of EDM.
After a week or two of heavy listening to most of his tracks (some were just too experimental), I wikied him. It turns out the producer behind XXYYXX is seventeen, and recorded most of this music at sixteen.
In one of his notable tracks, “Good Enough,” he samples “No Scrubs” by TLC, a 1999 hit (and a part of my childhood). His appreciation of TLC is both surprising and commendable, and his use of the huge R&B track is on par with a superb deep-house rendition of another R&B classic by Cyril Hahn (remix of “Say My Name” by Destiny’s Child).
I had heard of early 20-somethings working with Tiesto and Above & Beyond’s labels (the names in house and progressive trance, respectively). Everett isn’t so much younger, but a four years difference is eons of experience and development in teenage and young adult life.
Also, these artists are now resourced by the biggest names in the industry; Everett was and still is relatively independent, producing tracks in his bedroom and releasing them under a record label founded by 15 year-olds, Everett one of them.
“Relief in Abstract Records is Run by Baby Geniuses” proclaims one blog.
Everett’s popularity has been widespread, selling out shows on his national tour last year. Now, he is playing is Australia & New Zealand, and May looks busy, with 18 shows in 18 days at different locations across Europe.
Given that these kids are on the cutting edge of the electronic cultural revolution, I can’t help but wonder the implication of the creativity of new, raw talent in this form. The technological fluency of the coming generation is meeting the increasingly DYI nature of professional digital crafting. The result is XXYYXX.
Prospects for electronic music could not be brighter.