A Real View on Real Music

'May you live to be 100 and may the last voice you hear be mine.'
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The Maccabees - Given To The Wild Album Review.

Brighton based band, The Maccabees, are an indie- rock five piece that since 2005, have spiralled into success. ‘Given To The Wild’ follows two hugely successful previous albums and has been greatly anticipated by fans and music lovers alike, with many critics saying 2012 will be the year this band become stadium ready. But does the excitement surrounding the release match the content?

After a short introductory track, ‘Child’ really does set the tone and theme for the album as a whole. Lead singer, Orlando Weeks, has a different sound to his voice all together, as well as the instrumental introducing a more orchestral sound with the brassy trumpets automatically suggesting a progression from what is often considered their standard ‘indie sound’. This track in particular has the rhythm of a relaxed and mellow jazz track but combined with commercialised lyrics. Though I enjoy its mellowed feel, you do still wait for the punchy burst of sound the band often deliver, they are really trying to break away from their classic sound and not be predictable.

The album then leads onto ‘Feel to follow’- a possible favourite of mine. Again it begins more with a choral, melodic sound rather than their traditional guitars; it is far more atmospheric than previous material. However, when the predicted guitar riff does kick in, it suits the song well and doesn’t ruin this atmosphere that has been created. The build-up has the intended effect and I can only imagine it sounding incredible live, this being a slight indication of their potential success this year. As always lyrics are assembled beautifully, but it feels that equal effort, if not more, has gone into the instrumental too.  

A less impressive track comes in the form of ‘Ayla’, with its unpredictable start; it again follows into the more orchestral theme the album is presenting. This more up-beat track is one that I think sounds least like traditional Maccabees material but I found it one that I would class as ‘easy listening’ and unfortunately, the albums filler track. It simply feels far too repetitive of other songs on album.

A more delicate track, ‘Glimmer’, presents a melodic sound over a light drum beat.  The introduction of the synth works well with creating this trance like sound and it suits Weeks’s soft vocals well, as we hear him sing with ease. This simple track is really nice to listen to however again, I think they could have done more with their break down – making it a burst of a more classical sound to support the melodic feel. However the simplicity is consistent throughout, appropriately fading out to end.

‘Forever I’ve Known’ is another potential favourite, with a more sombre sounding track after the delicacy of ‘Glimmer’. Instrumentally, it reminds me of Kings of Leon’s ‘Closer’, a more harrowing and echoed sound.  Throughout you are waiting for the breakdown, and finally it delivers. Its pumping and rich with sound – if only it lasted longer.

The biggest hit from the album so far is ‘Pelican’, already being over-played on all UK radio stations. It’s punchy and catchy lyrics combined with addictive riffs work brilliantly and honestly, it takes us back to what we recognise the Maccabees for. Though I do wish more tracks on the album were more of either a surprise or as good as this one, we must understand why they have taken such a drastic change of direction with this new material. Is it far more of a risk not to change, then to stay the same?

Other tracks such as ‘Go’ has a strange combination of this light fast electro beat combined with atmospheric and melodic guitar riffs. It’s a track that I can again imagine sounding brilliant live, and again supports the theory, that these tracks would sound amazing in large theatres and venues. The album ends with ‘Grew Up At Midnight’, the closest track to a love song on the entire album, though Week’s is insistent these songs are influenced solely by friends and family, no lovers.  As a whole, the album is very good, and compared with many others, would be high in the ranks. I just feel however, slightly disappointed. Being a fan of The Maccabees for a while now, especially after their second album release, I was expecting musical gold from ‘Given To The Wild’, which was a stupid assumption to make. Not because the band cannot produce it, but because they were making such a change in their musical direction, that it is going to take some time to get it perfect, and I guess for us listeners to get used to it. I look forward to see what 2012 brings this band; I feel full blown stadium tours sadly taking them away from our intimate, smaller venues. Oh well – they deserve it!

Catchy Shit

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makes me think of summertime

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If We Are Machines (Self Titled) EP.

If We Are Machines are a relatively new Canadian band who though only formed in 2008, are already named one of the top ten musical acts in Vancouver. This self-titled EP includes five exciting tracks, described as the ‘hybrid of indie and classic psych- rock’, all heavily laced with synth and most certainly a darker sound than their previous material.

First track, ‘Fences For Bell’ has a brilliant instrumental start, with a dark build up that explodes into strong guitars and punchy drums. The track also interestingly hides a ticking clock at random parts, which was only noticed after a good few listens. It really does allow us to explore each layer of the song, adding depth and perspective after each play. I do however; think some of the lyrics do not match against its strong instrumental. The musical element of the song is both clever and exciting, yet the lyrics are obvious and repetitive.

The EP continues onto a more commercial and up-beat track in, ‘Letter of Apology’. Lead singer, Michael Kraushaar, has far stronger vocals with a belting chorus that you can most certainly imagine a crowd singing back to you. This tracks shows particularly well that though labelled as a more indie band, they can easily achieve the ‘pop-punk’ sound just as well if they wanted to.

‘Unimaginable Depths’ and the ‘Interlude’ are tracks are both feel could be improved upon however the groundwork that has been laid is impressive. The slow pace of ‘Interlude’ is a welcomed change of tone from the other tracks on the album. It reminds me of the often depressing sounds created from Radiohead and more ‘screamo’ genres. Though I like the change in tone, its abrupt end and obvious, sombre vocals let the track down. Again for such an interesting musical piece, it should be given equally as impressive lyrics. 

My favourite track on the EP however is, ‘Slipping Out’. You can tell they really went for it, including huge bursts of sound, and playing with different riffs and styles all in one track. The first 20 seconds alone go from lively indie riffs, to a classic rock bass line, with a hint of electro for only a few seconds. It’s exciting work which only hints at the potential this band could have for the future. It is most certainly a song for the ‘repeat’ button.

For a band that have not been in the music industry for a great deal of time, their material is not only interesting and enjoyable to listen to, but quite different to anything in the current market. I’m not 100% sure where they ‘fit in’ amongst other bands, but I like that, it makes them different, willing to experiment with sounds and ride in between different genres. Their progression can only make them better; they are most certainly one to watch.

Old School Chanel Ad: Simplicity In One

Old School Chanel Ad: Simplicity In One

(Source: nzafro, via humanly)