Xiu Mutha Fuckin' Xiu: Vol. 1 is the fifteenth studio album by American experimental band Xiu Xiu. It was released on January 16, 2026, through Polyvinyl. The album is a collection of covers originally released through the band's Bandcamp subscription service beginning in 2020. Three singles were released in promotion of the album; "Cherry Bomb" and "Some Things Last a Long Time" on December 3, 2025, and "Dancing on My Own" on January 13, 2026. The album was received positively by critics.
Xiu Xiu have previously released cover albums, such as Plays the Music of Twin Peaks and Nina.[1][2] Beginning in early 2020, Xiu Xiu released content through a subscription titled Xiu Mutha Fuckin' Xiu featuring covers, solo versions of tracks, and stems.[3][4] Subscribers were able to vote on songs for inclusion in Xiu Mutha Fuckin' Xiu: Vol. 1.[4]Jamie Stewart, the band's frontperson, stated that the project was intended as a way to "say thank you" to the original songs, emphasizing an approach focused on learning from the material rather than reworking it to improve upon it.[5]
Release
Xiu Mutha Fuckin' Xiu: Vol 1 was announced on December 3, 2025.[6] On the same day, the band's covers of "Cherry Bomb" by The Runaways and "Some Things Last a Long Time" by Daniel Johnston were released as singles.[7] Their cover of "Dancing on My Own" by Robyn was released as a single on January 13, 2026.[8] The album was released on January 16.[7]
Xiu Mutha Fuckin' Xiu: Vol. 1 was received positively by critics upon release. In a review for Treble Zine, Wil Lewellyn said the band "[honored] the 12 songs presented" and that their takes "[grow] on you by capturing the necessary mood while staying true to who they are".[12] Writing for Clash, Nick Roseblade called the band "masters of covers" and noted how their versions were both faithful to the originals and added something new.[3] Mike Lesuer of Flood Magazine called the album "the most defining work of this stage of the project's lifespan".[13] In a review for Buzz Magazine, Menna Wilson commended the band's creative choice to tie artistic inspirations together.[9] Writing for Narc Magazine, Cameron Wright described the album as both a "love letter to music" and an "engaging and exciting listen".[11]
Jon Buckland of Bandcamp Daily said the band merging "mischievous surprises with the expected darkness" showed the band "still [liked] a little play to accompany their cutting sounds".[4] In an article for Backseat Mafia, Deb Pelser said the album showed that the band's interpretations of songs were their way of "listening closely.[8] Writing for the Quietus, Richard Foster called the album "brave" and said it was an album "which we, in turn, can employ to our own ends".[14] A Pitchfork article called the album "a perfect introduction to the influential art-rockers' dark allure".[15]
George Ward of Clunk Magazine was slightly more negative towards the album, calling it "incredibly messy" and that "some tracks [felt] too gimmicky to be returned to".[10]
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