The xx - 'I See You' Review

January. The month of musical insignificance. A time to listen to the good old days of a old favourite's lifespan before they get thrown back on the 'past it' scrapheap for the remainder of the year. Yeah, I'm looking at you Kings of Leon.

8 days in to last year, Hinds bucked the trend delightfully. Bringing the summertime vibe to the first week back at work was an incredibly confusing phenomenon, but a welcome one at that. A year on and The xx have served up an absolute delight, 13 days in to 2017.

The xx are a band I have admired since their debut in 2009. A clean shaven, dynamic, particular indie pop album which stripped back instrumentation despite packing a heavy punch. It was a rare case of a band optimising the air and space of music. The silences, the pauses, the single notes. The xx became the benchmark for British music as a whole. Distinctive, original and deserved Mercury Prize winners; The xx had a bright future ahead.

Roll on 8 years, with a slightly less appreciated follow up but an ever present, loyal following. Jamie xx has released a solo record, which was close to winning the Mercury Prize itself. This album certainly paved the way for what was to come. 'I see you' is wholeheartedly an xx album, but one soaked in the influence of Jamie Smith's electronic charms and slick production. This can't be any clearer than on 'Lips', which fuses the smooth, infectious vocals of Romy and Oliver and the notably subtle but atmospheric beats of Jamie. 'A Violent Noise' goes even further to show the direction that Jamie has taken the instrumentation. Perhaps the most anti-xx to date, the production is clever to compromise and fuse the vocals to a clubland backdrop. A true recipe for a car crash, but handled expertly by Jamie Smith.

'Performance' is a beautiful take on not being noticed when you want it most, whilst 'I Dare You' is a tale of intense infatuation and elation. The xx have always been great at delving in to the contrasts of emotions. The two singles home in on the feelings of emptiness and hollowness. "I just don't remember the thrill of affection." on 'Say Something Loving' and "When and where did we go cold?" on 'On Hold' both extend the bands commentary of self deprecation and turmoiled relationships.

'I See You' is an album of a trio in perfect harmony, with a producer in Jamie Smith who knows his own talents as well as his partners. He has taken the band out of their musical comfort zone and blended his strong influences with glorious results. A true masterpiece of production, from one of the finest producers around.

8/10

Here is the single: 'Say Something Loving':

Radiohead - 'A Moon Shaped Pool' Review.

Trust Radiohead to save the day.


It's been 3 months since I last blogged, with only Polica releasing anything of note that I have enjoyed as much as Daughter & Hinds so far this year. That was until the 3rd of May.


Radiohead's unique strategy of releasing albums I find incredibly exciting. It may not be for everyone, but the marketing ploys and mystery that surrounds a Radiohead release is captivating. Especially for the hardcore fan. Who else sends creepy 'We know where you live' flyers to their fans?! I will never forget waking up on a rainy day in February 2011 and discovering the King of Limbs was out. No teaser's. No anticipation. No pre-warning. In reflection, I overhyped that album. Probably purely down to my over-excitement that a follow up to one of my all time favourite albums - In Rainbows was out.


This time Radiohead gave away a few signs things were afoot. The deeper you dug, the more you would find. The deletion of the band's social media footprint was of course the most obvious sign something was coming. Perhaps less well known was the fact that Colin Greenwood followed something similar to: 'Has it leaked?' on twitter. Pretty big spoiler there Colin. A few days later, after a couple of clips from the stop-motion video, 'Burn The Witch' was unveiled. Many things stand out from this track. Jonny Greenwood's string work being one of them (as it is throughout the whole album). The twitchy, fast paced strings really create a frenzied tempo. Something that I thought was missing from the King of Limbs but mastered within In Rainbows. However, my favourite element of Radiohead has always been Thom Yorke's vocals. I'd pick that above anything, including the early day guitar work of Jonny Greenwood. The vocals on 'Burn The Witch' are as beautiful as ever.


A few days later, 'Daydreaming' was released. I instantly fell in love with this song (and the video, directed by PTA. Who worked with JG on There Will Be Blood). A throwback to the Kid A / Amnesiac era, with yet more flawless vocals from Thom Yorke. A classic post 2000 Radiohead song, with numerous vocal effects that have become accustomed to the band being used throughout. The track evolves from a gentle piano ballad, into an eerie, claustrophobic finale. It is hard for me to think of another artist who can create such an atmosphere so effortlessly. Jonny Greenwood's cutting strings (I say his, because it is clearly his recent work being fed in) fade in and then out, with great impact.


So two songs were out. The album was on the way. Roll on Sunday 8th May!


As soon as possible after 7pm, I grabbed my phone and began streaming. 'Decks Dark' was next up. A song that for me could come straight from In Rainbows. The mix on this track is a beautiful thing. A familiar Radiohead groove is in full swing by the 2nd verse with the bass and keys. A nice extra is the inclusion of a the London Contemporary Orchestra Choir, who pop up a few times along the way in the record. I might be wrong (sorry), but this is new ground again... but another triumph. These new elements aren't just thrown in. They are well crafted, used at the right times and not over done.


A further highlight arrived with 'Glass Eyes'. The combination of orchestral strings and Thom Yorke's stripped back, bleak vocals really works. It sounds like something off a soundtrack. Another sign Jonny Greenwood's work is shining through. It is clear at this point, that the band's separate directions for the last few years have influenced this album. 'Identikit' is next, which I actually saw live in 2012 and enjoyed. This version is far better however. Again, the vocals really take centre stage for me, with Thom Yorke wailing: "Broken hearts, make it rain" before the choir take over with the backdrop of shimmering synths and Jonny Greenwood's guitar hook. Yes, that's right. The electric guitar was well and truly in the skip for the King of Limbs, but here it is elegantly slotted in. Each instrument is treated equally on any piece of Radiohead music these days. The twangy solo at the end is no paranoid android, but it's sure to raise a smile for diehard, old school Jonny Greenwood fans.


'The Numbers' follows. Another highlight, and the one track that sums up the album in it's entirety. The ever so subtle build up of tempo here is absolutely gorgeous. Slowly it builds, and by 3:32, this relatively tranquil track is injected with more erratic strings that bring it to an incredible finish. Again, the blend and mix of everything happening here is a joy. The production in general for this album is pretty perfect.


'Present Tense' is another that could fit quite easily on In Rainbows, with it being reminiscent of 'Jigsaw Falling into Place'. 'Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief' is a string/orchestral heavy song that perhaps wonders ever so slightly. I think the elegant timing and precision up until this point in regards to the strings is a real asset to the end product, where here it just meanders a fraction. Having said that, I still like the track, especially the serene opening two minutes. Another one that sounds like it is straight out of a film score.


The closer is 'True Love Waits'. A well known song to any Radiohead fan from the early days. Finally recorded (after several attempts down the years) and placed within a framework that the band felt was 'home' for it. 'I'm not living, I'm just killing time'. A heartbreaking song, sung with such sorrow.


Overall, the album blew me away. I think the impact of Jonny Greenwood's orchestral work has had a huge effect. It is incorporated perfectly, without over-emphasis placed on it. It's still classic Radiohead, but with a twist. After all, that's what Radiohead do. They evolve, stay fresh, stay innovative and strike gold every single time.


9/10


Here is 'Daydreaming':

Here are some other album ratings:


YAK - Alas Salvation 7.5/10
Polica - United Crushers 8/10
James Blake - The Colour in Anything 7.5/10
Frankie Cosmos - Next Thing 8/10

Best of 2015, Hinds & Daughter.

So I haven't blogged in a while but I was still sad enough to post my top 10 tracks and albums of 2015 on social media. Here were my picks of 2015!

10) Grimes - Flesh Without Blood
9) Chvrches - Empty Threat
8) Alabama Shakes - Gimme All Your Love
7) Sufjan Stevens - Should Have Known Better
6) Wolf Alice - Your Loves Whore
5) Courtney Barnett - Depreston
4) Jamie xx - Sleep Sound
3) Lana Del Rey - Terrence Loves You
2) Father John Misty - I Love You, Honeybear
1) Tame Impala - The Less I Know The Better

It's worth noting I limited myself to one track per artist. Amazingly, if 'The Less I Know The Better' didn't exist, Tame Impala would still come out on top with 'Let It Happen'! No prizes for guessing album of the year then...

10) Waxahatchee - Ivy Tripp
9) Grimes - Art Angels
8) Courtney Barnett - Sometimes I Sit And Think, And Sometimes I Just Sit
7) Wolf Alice - My Love Is Cool
6) Sufjan Stevens - Carrie & Lowell
5) Lana Del Rey - Honeymoon
4) Car Seat Headrest - Teens Of Style
3) Jamie xx - In Colour
2) Father John Misty - I Love You, Honeybear
1) Tame Impala - Currents

My favourite album since Alt J - An Awesome Wave. A coming of age album for Tame Impala. By far the best songwriting to date from Kevin Parker and the shift from guitar to keyboard taking centre stage worked wonders.

Overall, a strong year for music. Nice to see a few new names on the list. Let's hope they are around for plenty of years to come. It's notable to see that The Maccabees & Foals both don't make the list with both releasing pretty average albums. British rock music is not in a good state. Only Wolf Alice represent a British guitar band. Will they be around in 10 years?

So, leaving 2015 behind now... what does 2016 have for me to look forward to? Diiv, Radiohead, Vampire Weekend & Haim to name a few. However, this year has already started incredibly strongly.

Firstly, from Madrid are Hinds. A band I missed the opportunity to see at End Of The Road Festival in September. I regret that decision now, however I do have tickets to see them in two weeks time. They are a guitar based four-piece, playing incredibly catchy indie rock. Nothing is re-inventing the wheel with this album, but the enjoyment it brings forgives the lack of real innovation. The vocals especially really show a sense of fun that the girls had recording this album and I imagine they have similar fun playing it live. 'Easy' is my pick from the record, which is a strong example of the soothing tracks the album has to compliment the livelier songs. A strong first album of the year to get my attention for sure.

8/10

Now to a band I knew far more about. Ever since Daughter released 'If You Leave' a few years ago, I have been craving more music from them. Their gentle, atmospheric and extremely bleak and chilling style is one I adore. Their debut is one of the best by a British band for the last few years in my opinion. If you haven't heard it, I urge you to listen to it. Horribly overlooked by the British music press in my opinion. 'Youth' from that album was also my top track of 2013. This second album: 'Not To Disappear' is another beautiful piece of music. It's haunting qualities seem to strike a chord with me, much like their debut. It's fair to say they haven't taken giant leaps forward stylistically, but for that I am hugely thankful. Sometimes it's nice to stick to a winning formula and Daughter have done that here. I was lucky enough to seem them live a week ago. They were astonishingly good as I knew they would be. The lead single 'Doing The Right Thing' is one of the standouts from what is a very consistent album. 'How' is my personal favourite, with Eleanor's vocals being the perfect fit over a characteristically melodic riff which instantly feels as harrowing as you would expect from Daughter. They seamlessly create a feel to their music which is hugely emotive. Other highlights from this album include 'Mothers', with yet more depressing thoughts lingering. The experimental change of tempo on 'No Care' works well, with Eleanor testing out a different style of lyrical delivery we haven't seen before. The climax to 'Fossa' is extraordinary and testament to the all round capabilities of this band. An album that will make my end of year lists for sure.

9/10

And with that, I look forward to Diiv's new album on Friday. Another massively anticipated one!

Here is 'Doing The Right Thing' - Daughter.

Car Seat Headrest - Teens of Style & El Vy - Return to the Moon Album Reviews

Two unknown entities. I knew nothing of Car Seat Headrest before their latest album dropped on 30th October (although a debut for Matador Records - and essentially a reworking of old songs). As for El Vy, I had no idea this project was in the offing. Matt Berninger is one of my favourite vocalists and songwriters, so upon learning of this surprise collaboration, I was excited to listen.



I'll start with Car Seat Headrest. An album which offers some gorgeous and infectious Lo-Fi, which I am a real sucker for. The consistency on this album is brilliant, with a collection of tracks to really immerse yourself in. The vocals, albeit a little fuzzed out at times are layered and a poignant feature of this record. Music in this style can often feature vocals which are essentially background noise and included to basically fill the void, with the music doing all the talking. This isn't the case here, which I admire. The lyrics are witty and at times, damn right strange.

"I want to break something important 
I want to kick my dad in the shins "

The tempo varies throughout also, with some slower and more heartfelt moments such as 'The Drum' and some quicker and raw tracks like 'psst, teenagers, take off your clo". The quality however, never falters. The track 'Strangers' is a perfect example of a piece of music that you know won't get heard anywhere near enough as it deserves. A treasure for the small number of fans this band likely have in the grand scheme. 'Something Soon', 'Sunburned Shirts & 'Times to Die' being other highlights on an hugely like-able and addictive piece of music. It is likely Car Seat Headrest will reach nothing higher than semi-cult status. Sometimes, it's nice to be a part of that.

8.5/10

Matt Berninger has a distinctive voice. It's fair to say, it isn't a voice I would associate with positive, happy and vibrant themes. Upon hearing, 'Return to the Moon' - the first single off this album. I really wasn't feeling it. Beautiful South sprung to mind. Did I actually just think that? I remember thinking. In all honesty, I was reaching for the sick bucket. A horrible, horrible blend of vocals and music. It just didn't work. Thankfully, Matt & Brent (From Menomena) shift style pretty quickly. 'I'm the Man to be' follows. Here the vocals are dragged out and edgy, but with a more stripped back and groovy backdrop. This works better, with a more listenable fusion of styles. It's odd. Very odd indeed.

"I'm peaceful cause my dick's in sunlight

Held up by kites
Cause I'm the man to be"

'Need a Friend', fits along with the mould that the music doesn't fit the vocal style. Yet, I love this track. Whether it's the reverby guitar, the catchy keyboard riff or the line: "this is heartbreaking, heartbreaking, heartbreaking, heartbreaking" that Matt Berninger wails out at the end, I really don't know. For the first time so far, it just works. "Silent Ivy Hotel","It's a Game" & a few others have moments to like, but overall it seems I like the vocals or the instrumentation as separate parts far too often. The music of Brent simply isn't that compatible with the vocal delivery of Matt. As hard as they try! Also, 'No Time to Crank the Sun' really does sound like a U2 rip off. Like, really badly. 

When you are as big a fan of The National as I am, you very much like the status quo they have created in their music. This side project from Matt Berninger is intriguing and at times, enjoyable. But you come away thankful that The National are what they are. Perhaps a fresh set of ears, oblivious to The National may appreciate this more. Gig Soup gave this album a 10/10, calling it one of the best this decade. Have they heard 'High Violet'?!

6.5/10

Other album reviews: 

Grimes - Art Angels : 8/10

Fuzz - II : 7/10

Here is Something Soon by Car Seat Headrest:

Lana Del Rey - Honeymoon, Chvrches - Every Open Eye & Gig reviews

It's been a busy few weeks of new music, not all of which I can cover. Likewise, I saw a number of bands at End of the Road festival (which I highly recommend to all Dorset residents!) which I could write individually about... as well as Wolf Alice at Brixton academy on the 26th September. Let's see how much I can cover.

So, I'll start with an album I wasn't really waiting on, or indeed expecting to like very much. Lana Del Rey's music has always interested me. Intense, dark, yet accessible pop music with a real sad and bitter atmosphere. A pretty unique combination these days. All these elements are rife on 'Honeymoon', creating a beautifully sombre album, drenched in misery. 'Terrence Loves You' is a really gorgeous track, with some of my favourite vocals by anyone I have heard this year. Lizzie Grant doesn't follow pop music's trends and she hasn't here. This is a captivating piece of music and one to really immerse yourself in.

8/10

I've been a fan of Chvrches since the early EP days, prior to their brilliant debut - "The Bones of What You Believe". That album was a great collection of synth pop tracks, paving the way for a number of new and existing artists to follow suit. I don't think Chvrches got enough credit for starting that mini-wave of music off 3 years ago, but in my mind they most certainly did. The question was; could Chvrches create something refreshingly new without taking away their strong identity. The answer simply, is yes! This is a great album, and for me confirms Chvrches as one of the best British bands around. We are in a time where British bands are dwindling in quality and indeed in numbers. The singles released prior to album release date were a delight. 'Leave a Trace' and 'Never Ending Circles' do ultimately continue directly where the debut left off. 'Clearest Blue' was Chvrches sounding, but dabbled in the art of the electronic music 'drop'. They pull it off pretty well, with another infectious track. Something Chvrches continue to do with tracks such as 'Keep you on my Side' and 'Empty Threat', with the latter focusing on Lauren Mayberry's bold fight against misogyny, predominately on the internet. A real highlight for me however is 'High Enough to Carry You Over'. A criticism of the debut could be that Martin's vocals weren't that great. Here, he delivers some sharpened vocals which provide a nice contrast to Lauren Mayberry's youthful tones. I think Chvrches have a bright future, let's hope they can continue this quality for a while yet.

8/10

End of the Road was great fun. A pretty small festival, that is really well thought out and designed. I thought there was a real eye for detail around the site which added to the already wonderful setting. I really couldn't fault it. It has it's own character and atmosphere, which all good festivals have. My favourite acts from the weekend were:

5.Girlpool
4. Tame Impala
3.Django Django
2.The War on Drugs
1. Mac DeMarco

Mac DeMarco really did steal it for me on the last day (even if The War on Drugs set was more headline worthy and grand). I think Mac DeMarco is a the musical equivalent of marmite. Firstly his music is of a particular style that would certainly royally piss off the more classic rock audience that End of the Road did have (hence the younger crowd for this set). However, if you're a fan of his music, then his charm and wit really add something to live performances. Especially when the rest of his band are as goofy as him. Also, the sound levels were on point for both him and The War on Drugs which couldn't be said for everyone. The joys of a festival... The War on Drugs were pretty faultless on the last night and Adam Granduciel was astonishing.

Tame Impala were good to see at last, but overall the sound levels let them down. Kevin Parker's vocals were pretty quiet and the bass guitar seemed to be the loudest thing on stage.  Django Django were the surprise of the weekend, with a great 45 minutes of essentially the same beat. But, hey it was fun! Girlpool played to a pretty small crowd but were one of my favourites.

Overall, a great weekend in my home county. The War on Drugs, Tame Impala and Mac DeMarco in Dorset?! Never thought I'd say that! P.s Fat White Family are dicks.

Finally, without waffling on too much more. Wolf Alice played the Brixton o2 Academy last weekend. Drenge supported and were on top form as usual. Despite Eoin Loveless' vocals being a bit half hearted at times. Wolf Alice had sound issues from the start, with the live rendition of 'Freazy' being a real mess. Eventually the sound techies pulled their finger out and the sound was greatly improved towards the end. 'You're a Germ' and 'Giant Peach' were examples of the better side of Wolf Alice. They were definitely up for it... Homecoming gig, to their biggest audience yet. For me, they were a bit sloppy for the majority and that was intensified with some pretty abysmal sound levels for the first half. The crowd towards the back where I was standing were pretty much static for an hour. Their second album will be a test. We shall wait and see.

Drenge 7/10
Wolf Alice 6/10

Foals - What Went Down - Review

A quick review... as most of my "music" time has been spent playing vinyl. Yes, I finally decided to stop buying CD's and follow the crowd into the 21st Century (or back to the 20th century?! :/) and opt for the hug-able form of vinyl records. There really aren't many things better than browsing vinyl. A reason why I will never ever buy vinyl from the internet (I mean, really? What is the point in that). Tesco are stocking vinyl. Don't get me started. However, I urge the other person who reads this blog. DO NOT BUY VINYL FROM TESCO. Thank you.

So, Foals. The "math-rock" outfit from Oxford (only Radiohead to live up to then... ) Having used the term "math-rock" (yeah, what the fuck is that?), they are in fact a million miles away from that. The horribly average "Holy Fire" saw a change in their musical style, which for me was a step backwards and a huge stride away from what made Foals so appealing. "Total Life Forever" was lush in it's production and beautifully layered at times. More than anything, it was an incredibly catchy album, that made you want to dance. Yeah, even me.

So, 2015 has brought 'What Went Down' to the table. Early singles, 'What Went Down" and "Mountain at my Gates" both set the tone for a heavier, grittier album. The former I wasn't keen on at first, but it grew on me slightly. "Mountain at my Gates" however, I was a fan of from the outset. Yannis' vocals especially on this single are great. He really drives his voice through here and the outro of "Gimme my, Gimme me, Gimme my..." set against the hard hitting drums are a album highlight. Sure to be amazing live, I'd imagine. The hard hitting heights really do end here however... A frustration for anyone who really liked the feel of the opening two.

"Birch Tree" is a more classic Foals feel type of song. Which does kind of make the first two songs a false representation of where the band are going. Nevertheless, I like this track a lot. It's bass riff sets the tone, the guitars are twangy and minimal and Yannis' vocals are soothing. Towards the end, you are getting close to feeling the "Total Life Forever" and "Antidotes" vibe once more. Like I said, classic Foals. "Give it all" is next and really is an album highlight. This is a gorgeous track, with albeit another shift in style. The hollow and synthy intro, flows into a lovely and atmospheric blast of "Wooooooo, Wooooooo, Wooooooo"''s from Yannis that have to be heard to be greatly appreciated! Pitchfork, sign me up...

The next two tracks serve one purpose. Not to be listened to. "Snake Oil" I can actually listen to at a push, but "Albatross" I can't. I have no idea what the band are trying to achieve in these tracks. They are B-side quality at best,  So, moving on to "Night Swimmers". Back to classic foals again! At this point, you enjoy individual moments, but there really seems to be confusion over what the band want. The bass and guitar work in perfect harmony here. Yannis' vocals are nice one again, even if what he is saying really isn't that interesting. At 2 minutes 20 however, the track does push the boat out a little with a grittier guitar sound to counter-act the twangy, indie hooks. It's bass and hard hitting back drop does provide a glimpse of what Foals could have produced more of if they had more ideas. A snapshot of what could have been? It doesn't reinvent the wheel by any stretch but it's something more akin to what the album looked like it was promising from the openers.

"London Thunder" is the classic (or perhaps obligatory) slow Foals ballad. The vocal delivery and build up of sound delivered in the chorus is decent, but outside of this there isn't a great deal to get excited about. The lyrics provide moments, but nothing compared to the imagery of say, "Spanish Sahara". "Lonely Hunter" is a real grower. Despite a pretty horrible intro (reminiscent of MK Ultra - Muse), which does sound like a Bond song intro it is a good track with a belter of a chorus. Yannis' vocals on the chorus are a real delight. "In the deep blue see the whitecaps from the shore
But I can't swim, and it keep me wanting more".

The album closes with another single 'A Knife in the Ocean', which is an average closer. The echo-ey voals of Yannis are the highlight towards the end with a 'Climbing up the Walls' esque wail to round things off. This track does however, sum up the album in it's entirety. When it's good, it is really good... and it certainly has it's moments where it is a enjoyable and instantly recognisible Foals record. At other times, you really are scratching your head wondering where the band are heading and why they occasionally abandon, the formula that made them so like-able. That sounds hypocritical I know, as I do actually prefer that side to Foals. But his half way decision between new and old really doesn't work. Especially in the form of an album. I'm all for bands changing styles. evolving and trying out new ideas. The problem is, I don't think Foals know what they are striving towards.

7/10

Other album reviews:

Lana Del Rey - Honeymoon - 8/10

The Libertines - Anthems for Doomed Youth - 3/10

Chvrches. Disclosure & Kurt Vile all out Friday.

Here is Mountain at my Gates:

The Maccabees - Marks to Prove it - Review

Being a newcomer to London, I only discovered Elephant & Castle very recently on route to a visit to the Imperial War Museum. I think it is fair to say the area isn't tremendously appealing to the eye, nor particularly inspiring. Having said that, it's the location of formation for one of the UK's best and quite frankly, under-rated bands. Proud of their roots despite themselves calling it 'not eye catching', they struggled to get a grip on what their new record should be. It turns out the required inspiration came from the most uninspiring of places, home. In particular, the Faraday memorial on Elephant and Castle roundabout. Marks to Prove it is the bands fourth LP. At this point I should probably mention that the previous effort, 'Given to the Wild' is an incredible record and for me one of the best of the decade. High hopes followed... But also that overwhelming feeling that they couldn't top what they produced 3 years ago.

My verdict is this: Marks to Prove it is another glorious set of songs. Compared to other contemporary bands of the same genre, you can really feel the thought, warmth and care that goes into the album. Little touches such as the horns solo in the closing track, really add depth. The songwriting is as strong as ever, and instrumentally it is a balanced and consistent album. The soothing quality of Orlando Weeks' voice is what always draws me in to a Maccabees album, however. Especially on the more intimate moments. The verses on 'Kamakura' demonstrate this perfectly, sounding similar to Matt Berninger from The National at times. 'Silence', 'Pioneering Systems' and closer 'Dawn Chorus' also show off the hugely satisfying gentles tones of Orlando Weeks' voice.

However, The Maccabees have always loved a good single, and there are a couple here to keep the part time fans (not having a dig there!) more than happy. 'Marks to Prove it' sounds to me like the ultimate blend of everything they have produced. The rawness of the early days and the refined production of the more recent years. The song even follows that mould with it's to-ing and fro-ing from fast and slow tempo's. 'Something like Happiness' is another single, coming in at track 8. A highlight from the album, it's vocal delivery being a delight, along with it's blend of soaring instrumentation towards the end. As this song closes out, you really feel the band have peaked on the album. 'Spit it Out', is another single and one that took me by surprise. Different in its delivery, this track is more aggressive than anything to date. The guitars, bass and indeed the vocals are frenzied here, pushing the band away from the norm of prestine production.

So could this collection of tracks match the lush, mindblowing serenity of most of 'Given to the Wild'? For me, the answer is no. As mentioned above, this is a good collection of songs but as an album it doesn't quite have the same affect. Whilst the album hold it's own no problem, you do feel like the ideas are more sporadic and random than previous efforts. Ultimately, that comes to light when you play the album in full from beginning to end. This isn't to say the Maccabees have gone backwards, just that they had a clearer concept of what they wanted their record to be in the past. I defy anyone to listen to 'Feel to Follow', 'Ayla', 'Glimmer' and 'Forever I've Known' in sequence and argue the new music is superior. I like Marks to Prove It, but the special atmosphere on 'Given to the Wild' isn't quite there.

The Maccabees next album will be a huge one and will define what they shall be remembered for and ultimately, for how long.

7/10