As a fan of all genres electronica, esp. trip hop, Xiu Xiu was recommended to me. I finally bought the only album of theirs available at my local Record Theater, and eagerly slid it into the cd player in my car on the ride home. After about 20 minutes I couldn't help thinking "Did I just waste $16?" Hmmmm, maybe it's not for listening to in cars....gave it a second try at home the next day and listened to it the whole way through. I just couldn't get into it. Not as background music to do other things to, not as lying-down-on-my-bed-feeling-every-note, not as well, I can't really think of a setting where I would truly appreciate this music. I've finally decided that the singer is too emo-ish for my tastes, and the melodies are, well, boring. I don't really care about each song because the beats generate no emotional responce, neither do the lyrics. I won't say Xiu Xiu sucks because I can at least hear that they are doing something different, and they're going bravely, unabashedly forward with their experimentalism, but I think even people who are fans of it right now will listen to them again years from now and say "What did I ever hear that was good in this?"

Just as the reviewer stated above, this is Xiu Xiu's most intimate album to date. For those who are not fans, a comment as such is not easy to justify because of the stark imagery and intense magntitude (via electrifying and sometimes shocking sounds and painfully explicit lyrics) most of their songs carry. Like emotional baggage sprawled all over an entangled web of human deception, so is Stewart's delivery of issues most of us would intensely fear or choose not to confront; and if we did, it would be with a therapist. I doubt any of us would be successful in painting misunderstood masterpieces that would echo the excessive and lucid hegira's Stewart's various personae take in his songs, because whether it's "Suha" or "Bog People," the characters comes alive not only through the entrancing lyrics, but through the brutal and honest delivery of Stewart's vocals.

Over the course of their first four releases, Xiu Xiu is a band that has seemed to slowly let their guard down musically. Nearly always confrontational both lyrically and vocally, they (mainly Jamie Stewart at this point) reigned in the noise just slightly and tightened up the songcraft on Fabulous Muscles and it made for what was easily the best release from the group yet (and one of the better albums of last year).

Stewart has said in interviews that he wants to work quickly and release nearly an album per year, and despite a load of touring (even internationally), La Forêt holds to the promise, arriving just a year after the last full length. If Fabulous Muscles was a venture into more of a pop realm for the group, then the eleven tracks definitely pull back. While there are some definite noisy freakouts on the album, it could also quite possibly be the quietest and most sparse thing that the group has ever done (close to even the Fag Patrol EP in places).

Quiet and sparse is how the album starts, as "Clover" finds Stewart almost struggling to get the words out as quiet vibraphone, guitar, and bass backing fill in things just barely behind him. In a complete direction change, "Muppet Face" starts out sparse with some programmed beats and filtered chimes before exploding with blasts of harsh noise during the chorus. The dynamic change is dramatic and cathartic and while the track follows a more conventional structure, the redlined earbleed blasts will certainly keep it away from radio.

The middle of the release again goes back to more subtle arrangements, and "Mousey Toy," "Baby Captain" and "Rose Of Sharon" are all notible for their sheer restraint. The pained vocals of Stewart hang out in the open even more than usual, and while the tracks are mixed in with some louder outbursts (like the musically overdone "Saturn"), there are times when the album is playing that it goes to nearly complete silence between musical and vocal phrases. The group still isn't beyond overdoing things a bit, but other than a few tracks, the group has proved they can mix in said freakouts to the songs and have them sound like they belong.

Oddly enough, the album is at the same time the most restrained and also not nearly as focused as Fabulous Muscles. With their fourth full-length release, the group shows that there are still plenty of areas that they can explore with their sound, such as focusing much more on less-obvious melodies and experimenting more with drone and subtle shifts in sound. While these experiments don't always quite work, at the very least the group isn't falling into a rut. Overall, La Forêt is a slight step back from a group who isn't sitting still for anyone.

(from almost cool music reviews)

One of the very best blends of experimental/noise rock with melody that I have ever come across. This music sounds at times imprompted which adds to it's unpredictability. Sounds of melody and chaos go in and out of many of the songs here creating a mezmerizing experience for the listener. Jamie Stewart's chaotic emotional vocalization adds a human spirit to an otherwise mechanical lifeless sound machine of cachophony. In a few places however, there appears to be some live brass and string instrumentation that strangely doesn't sound out of place adding variety to an already experimental approach. This music surely isn't for the mainstream. In fact, this may even pose a challenge to some mainstream indie rock listeners (interpol, the strokes, kings of leon, etc.) However, if you are a fan of more experimental indie rock such as Animal Collective, Stereolab, Sonic Youth or any experimental/noise/even industrial music then you need to give this album a listen. One of the top 10 albums of 2005.

Xiu Xiu came about as an unusual group a few years ago that often opened for
Deerhoof. After a few albums the esthetic of Xiu Xiu seemed very plain. Jamie
Stewart makes music that is very intimate. He writes about emotions without
being sentimental or cheesy. After a few albums the songwriting skills have
developed. The songs seem less weird. He is becoming more like Smog and Cat Power
and others. Some songs like "Clover" and "Baby Captain" are just mostly
voice and guitar, while others like "Saturn" are almost industrial songs. Some of
the co-conspirators are back: Devon Hoff, Ches Smith, Caralee McElroy, and
Cory McCulloch. "Baby Captain" has a surprise middle section that sounds
incredible. "Muppet Face" is a song about photographer Angel Ceballos and her cat.
Xiu Xiu has always employed the dynamics of loud and quiet in their music. It
seems less obvious this time. "Ale" is almost like a Tom Waits tune, without
all that unnecessary stuff. Xiu Xiu gets better with every record. La Foret
has the most range of all their records. This might be the best one.