The Maccabees 'Given To The Wild' album review (for kevchino.com)

The UK’s favorite lads the Maccabees are back with their highly anticipated new offering, Given to the Wild. With such fine efforts given previously in Colour It In and Wall Of Arms, the band set the bar quite high and have failed to disappoint.

There’s no question Given to the Wild differs greatly to their previous offerings and is a much more intricate album. The tracks have a lot more depth and weight to them involving an eclectic range of instruments, lots of layering, and some great production. The album has an almost esoteric sound, like the whole band went on a month-long Yoga retreat to find themselves, and what they found was utterly creative and inspiring.

The first single from the album, “Pelican” is pretty much the only solid-sounding rock song present. It’s punchy, poppy, and has the Maccabees’ usual edge to it. The remainder of the tracks play like a soundtrack that run into one another in a dreamlike state, ebbing and flowing across a rich musical landscape. The starting track, “Given to the Wild (Intro),” opens almost like a soundtrack with minimal vocals and soft instrumentals, leading into “Child,” which starts off slow, but eases into a faster finish with the band’s signature disco drums and high-paced guitars.

“Glimmer” does just that, with sparkling guitar riffs and floating melodies, followed by the eerie and macabre “Forever I’ve Known,” which features less of the higher-toned vocals you hear throughout the album and more of the old English-accented vocals we’re used to. “Went Away” is one of the more electronic-sounding tracks on the album, an upbeat piece with good solid drums and sweet dripping guitar melodies. “Go” is another electronic-based track with nice fades, interesting bass lines, and some beautiful guitar solos.

Given to the Wild is by far the most complex album produced yet by the Maccabees. It takes you places you never thought they’d go, and they do it well. But one can’t help feeling they’ve lost a little of their musical innocence on this album, which was part of their allure and charm on previous albums. The vocals and guitar effects are much more heavily produced, and the little simplicities of the previous two efforts that brought them such critical acclaim have been lost. That said, all bands must grow up at some stage, and the Maccabees are surely one you can take home to Mum. They have definitely matured beyond their years musically and created an album already fit for the top ten of 2012.

SHOW REVIEW: Hospitality, Brixton Academy, London (24.9.10)

‘Bass To Melt Your Face’
Friday 24th September 2010
Brixton Academy, London


The increasing popularity of Hospital Records and the unexpected closure of Fabric’s sister club Matter means the Hospitality nights are now bound for bigger and better things. I had been to dance parties at Brixton Academy before but Hospitality is less a dance party and more a way of life. In my mind Drum’and’Bass nights should be small, cramped, dirty, heavy, grimy, sweaty and in the end leave you feeling much the same way. Whether this would transgress to a much larger venue was yet to be seen.

Straight away the immense growth in Hospital Records’ following became apparent, as along with all the usual trainer wearing, shit-talking, face-chewing cainers came a new breed of much more sober looking and sophisticated ‘Ministry of Sound’ types. But there was no doubt all were there for one thing – to get down and dirty to some of the best Drum’and’Bass around town.

London Elektricity have never been a favourite of mine and tonight saw them do no better. While they are good they always seem to miss the mark. Their beats are fine but their lead in’s and climax’s leave you hanging mid-peak, never coming back to get you. Their mixes are disjointed and mismatched at times and often sound as if they’re simply changing records on a player. A steady act that would benefit from stepping it up a notch or 10.

Next were High Contrast, with contrast being the operative word. The came, they saw, the tore the place up. With a savvy MC who knows exactly when and where he’s needed and a stretch of epic beats, breaks and classic samples that almost caused a riot High Contrast got the floor moving and left all wanting to see more. But not now… maybe another time… Danny Byrd was on next. So though High Contrast became a fast crowd favourite no one was that sad to see them go.

It’s hard to review Danny Byrd, as it is hard to put truly great Drum’and’Bass into words. Drum’and’Bass is very much a feeling and experience, making you dance into a frenzy and do things you normally wouldn’t do in front of complete strangers. I don’t think anyone spoke during Danny Byrd’s set for fear of missing a beat, catching a breath and dropping dead on the spot. From housey, dancey, disco samples to the heaviest, dirtiest most evil bass lines you’ve heard in an age Danny Byrd delivered it all and was heard right the way through to China. If High Contrast got the floor moving Danny set it on fire. Not a foot touched the ground until he finally had to be forcibly faded out by the sound engineer to make way for Andy C, but no one would have cared if he played all night. Byrd is the word.

And you’ve gotta love Andy C. We all love Andy C! The original and one of the best delivered his standard high quality set that melted your face and kept you going till sun up. But following The Byrd is a hard yard and as most kept on keeping on some went for drinks, some for smokes, and after half a set from Andy C I reluctantly threw in the towel.

Hospitality is an amazing club night. It’s well done, well organised, always delivers quality line up’s, so it’s easy to see why it has taken off in such epic fashion. But I can’t help feeling we lose a small piece of the true down to earth Hospitality the bigger and better it gets. But that’s the way it goes I suppose.