Xiu Xiu: Xiu Mutha Fuckin’ Xiu – Vol. 1 [Album Review]

Xiu Xiu
Xiu Mutha Fuckin’ Xiu: Vol. 1
Polyvinyl Records [2026]

“A twisted jukebox of pop history, rebuilt in Xiu Xiu’s image.”

Album Overview: Xiu Xiu started in the early 2000s led by Jamie Stewart. Over the years the lineup has shifted, but Stewart has stayed the driving force. The band built a name through raw emotion, loud electronics, and songs that hit hard both sonically and emotionally. They have never stuck to one lane. Records like Knife Play, A Promise, and their tribute projects show a group that respects its influences but never plays it safe. With more than twenty years of releases, they’ve become one of the most consistent experimental acts around.

Xiu Mutha Fuckin’ Xiu: Vol. 1 gathers a dozen cover songs that were first shared through their Bandcamp subscription series. Instead of sticking to one theme, the band pulls from different eras and styles. You get material originally done by Talking Heads, Robyn, Throbbing Gristle, Daniel Johnston and more. This is not a light tribute record. The band reshapes nearly every track so it feels connected to their own catalog. The record works best when the band fully commits to turning a familiar song into something that feels personal.

Musical Style: The sound jumps between noisy electronics, thick drum patterns, eerie keys, and stripped back moments. Their excellent take on Talking Heads “Psycho Killer” keeps a nervous pulse but swaps in organ tones and sharp percussion that change the mood. “Sex Dwarf” (Soft Cell) becomes a pounding, chaotic blast that feels closer to underground club music than glossy synth pop.

When they cover “Dancing On My Own,” (Robyn) they slow it down and lean into space and tension instead of dancefloor energy. “Hamburger Lady” (Throbbing Gristle) keeps its disturbing core but is framed in a way that fits their darker catalog. The production is dense but controlled. Nothing feels tossed off.

Evolution of Sound: Covers have always been part of Xiu Xiu’s world. They previously tackled Nina Simone on Nina and the soundtrack to Twin Peaks. Those records had tight concepts. This one is looser. What stands out here is how comfortable they are. There is less shock value and more control. Instead of trying to provoke, the band focuses on craft. You can hear how their years of recording have sharpened their approach. Even when the song choice is unexpected, it still sounds like them.

Artists with Similar Fire: If you like the darker corners of Swans or the uneasy electronics of Coil, there is overlap here. Fans of Liars might also connect with the restless production choices. There are moments that hint at early industrial acts, but Xiu Xiu’s emotional directness sets them apart.

Pivotal Tracks: “Psycho Killer” opens the set with a warped take on a well-known track. It sets the tone by showing they are not interested in karaoke versions. GloRilla’s “Lick or Sum” is one of the more surprising selections and proves they can handle modern hip-hop material without sounding forced. “In Dreams” (Roy Orbison) stands out for its vocal performance. It feels fragile but focused. “Cherry Bomb” from The Runaways closes the album with a heavy punch that leaves a strong final impression.

Lyrical Strength: Since these are covers, the writing belongs to the original artists. What Xiu Xiu adds is tone. On “Some Things Last a Long Time,” the sadness feels direct and unguarded. “Dancing On My Own” shifts from club anthem to lonely confession. They do not change the words, but the delivery changes how those words land.

Final Groove: Xiu Mutha Fuckin’ Xiu: Vol. 1 is not their most groundbreaking release, but it is a solid reminder of what makes Xiu Xiu compelling. At its best, it sounds like a band in full control of its voice, using other people’s songs as a mirror. A few tracks hit harder than others, which keeps it from being essential, but there is enough here to make it worth your time.

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