NME Awards Tour @ Brixton Academy

Fitting four bands into four hours is always going to be a challenge and teamed with Saturday evening traffic in London means that much of The Drums set is missed by Gigwise. We do however manage to catch the final two songs of their show including a rousing version of ‘Let’s Go Surfing’. Despite doing little to argue against the theory that they have only got one truly great song The Drums certainly look the part. Lead singer Jonathan Pierce commands the stage like a man who has been doing this for far longer than this bands tender years and set closer ‘Best Friend’ sees the band finishing as if they are headliners. You suspect that in a years time they will have the stature to match their ambition.

The Big Pink are a band seemingly designed to play in as big a venue as possible. Their sound has become gargantuan following support slots with Muse and Pixies and tonight they play Brixton for the third time in under a year. Guitarist Robbie Furze channels his past in digital hardcore bands to great effect as he attacks his mirrored guitar with an aggression normally reserved for enemies not friends. ‘Too Young To Love’ rumbles and rolls the band into vision, through the smoke and haze they then run through a series of industrial lullabies for the hard of hearing. Playing to a somewhat subdued crowd the band do their best to kick start the evening but perhaps the serrated edges and muscular nature of the band seems to jar with an audience here to see three clean cut indie pop bands. Not to be deterred however, The Big Pink hit out with a snarling rendition of ‘Velvet’ before garnering a cheer of recognition for the ubiquitous ‘Dominos’. Furze ends the set in the crowd having propelled himself skywards during the closing moments of the set. Tonight might not have been the victory lap they expected but The Big Pink are quickly establishing themselves as one of this country’s finest live bands.

Bombay Bicycle Club were always going to struggle to match the sonic girth of The Big Pink but what they lack in muscle they make up for in popularity. Cheered like heroes from their first steps onstage these four young men from London have developed slowly and surely into a heart warming and well loved band. It’s not hard to see why either. Their music is a gentle mix of folk ditties and more upbeat indie disco numbers like ‘Magnet’ and ‘Dust On The Ground’. Singer Jack Steadman’s deep and rich baritone is the bands greatest strength and they play to it well. What is most remarkable about tonight’s performance however is just how popular the band are. Perhaps an oversight on our part but with an album met with relatively small fanfare and not appearing to be a band with a definitive song BBC appeared to be a good band but one lost in a tide of newer acts and bigger bands. It’s nice to be proven wrong however and the young audience here have clearly taken the band to their hearts. As ‘Always Like This’ brings a triumphant set to a close the band can look back on this show as a pivotal career moment.

When you record an album with Arcade Fire’s producer and purposely decide to add some meat to your skinny frame then you need to make it pay in large venues like this. The Maccabees more than step up to the gauntlet tonight, proving that they have stepped up mentally as well as in their recorded output. Opening with ‘William Powers’ the band are in a jubilant mood from the off and play through a hit flecked set with an infectious energy. Lead singer Orlando has shed his shy skin of their formative years and now leads his band perfectly, bashful but in control. His voice soars on ’Can You Give It’ and ’All In Your Rows’ but it is first album cut ’Precious Time’ which excels the most tonight. With this being the final night of this tour there are a few treats in store, chiefly being the appearance of Edwyn Collins. Performing his Orange Juice classic ‘Rip It Up’ is clearly a touching moment for the band and it shows in their shyness around the great man. It’s still a triumphant moment however and one all involved will remember fondly. The set ends with the traditional stage invasion by all the bands involved as the brass band fan their goodbye to the sounds of ‘Love You Better’. You get the feeling those gathered tonight could not cherish The Maccabees any more if they tried.

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Albums Of 2009

1. The XX- xx

Where so many bands fill their space with noise and layers these four teenagers from London showed that less can indeed be more. Set to a musical backdrop of trip-hop, two step and dub dual vocalists Olliver Sim and Romy Croft open their hearts and mouths scattering broken hearted rhymes and brittle citadels of romance. From the upbeat pop tunes of ‘Basic Space’ and ‘VCR’ to the stunning ‘Crystalised’ and ‘Shelter’ this debut album never drops below astonishing. The future is neon bright for The XX but even if they packed it all in tomorrow they have left their indelible dark mark on 2009.

2. The Horrors- Primary Colours

It would have been so easy for The Horrors to conform to the stereotypes forced upon them and to churn out an album of sub Sonic/ Cramps tunes. The much maligned five piece defied expectations though and emerged from an underground studio having worked with Portishead’s Geoff Barrow on ‘Primary Colours’ 2009’s most unexpected hit. Much of the album works as a tribute to the bands influences, showcasing their love of 60’s psychadelia and bands like Neu! And Can resulting in tracks like the sprawling motorik beat of ‘Sea Within A Sea’. Elsewhere the aggressive glam stomp of yore is brought to a natural progression on ‘Who Can Say’ and ‘New Ice Age’. Every single copy of ‘Primary Colours’ should come issued with a big steaming slice of humble pie.

3. Yeah Yeah Yeah’s- It’s Blitz!

After the glitter punk thrash of their debut album and the experimental sounds of its follow up Karen O and co. took the natural progression on album number three and went all out disco pop. From the opening call to arms double bill of ‘Zero’ and ‘Heads Will Roll’ this album sees spirits high in the Yeah Yeah Yeah’s camp and as usual there is a battle between the distorted fuzz of Nick Zinner’s guitar and Karen O’s charismatic onslaught resulting in a double K.O. If at first it’s the fist pumping anthems that grab you then it’s the slower and more delicate moments that will have you coming back to ‘It’s Blitz!’ with ‘Hysteric’ and ‘Runaway’ rivalling anything the group have done before for elegance and poise.

4. The Maccabees- Wall Of Arms

This is the album which saw The Maccabees go from men to boys and burst out from the pack with a host of epic romantic anthems. Enlisting Arcade Fire producer Markus Dravs was a master stroke on the part of the Brighton band as his sense of the gargantuan merged with the shy indie promise shown on the bands 2007 debut record. This meeting of minds saw lead singer Orlando Weeks emerge as a town crier for the sad and alone, a klaxon for the soppy and love lorn. Listen to a song as good as ‘Love You Better’ or the National gone post punk brilliance of ‘No Kind Words’ and tell us that The Maccabees aren’t a band to cherish. You can’t and ‘Wall Of Arms’ is their tour de force.

5. Jamie T- Kings & Queens

It wasn’t mentioned much at the time but there must have been a great deal of pressure on Jamie T to follow up his superb debut ‘Panic Prevention’. Any signs of nerves or tension didn’t show one single bit however as with a swig of his brew Jamie hit the ball out of the court on ‘Kings & Queens’ showing his unique flow, spirit and precocious talent. This album has a real communal brothers in arms feel as swaying sing alongs like ‘The Man’s Machine’ line up alongside frantic skittering sugar rush tunes like ‘Chaka Demus’ and ‘Sticks ‘N’ Stones’.

6. Arctic Monkeys- 'Humbug'
7. Danananaykroyd- 'Hey Everyone!'
8. Florence and The Machine- 'Lungs'
9. The Big Pink- 'A Brief History Of Love'
10. Wild Beasts- 'Two Dancers'

The Top 10 on Spotify

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November: Best Bits

The best of November's posts

Gigs

• Florence and Friends at The Tabernacle
• Editors, The Maccabees and more @Union Chapel
• The Dead Weather- Brixton Academy
  

Bands

• Meet: Frankie and The Heartstrings
• Words with: Alison Mossheart
• Albums to look forward to in 2010
• 5 Most underrated albums of the decade
  

Music

• Blood Red Shoes return with 'Colours Fade'
• Late Of The Pier- Blueberry
• Solange Knowles redefines Dirty Projectors
  

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Little Noise @Union Chapel

Silence can be so loud. The gentle hush adopted by the 500 lucky attendees of tonight’s first Little Noise Session of 2009 render parts of the bands performances almost painful to endure. Not until you have sat in a silent church as a room full of people stare stage wards intently do you know the true fear of sneezing. One wrong move could so easily garner the attention of the people performing on stage that the organisers decision to put those allocated press passes just one row from the front seem like a cruel trick.

Doing their best to fill the Holy walls first are Manchester newbies Everything Everything. Already in possession of three of 2009’s finest singles the future is bright for the band and they show a level of performance which belies their tender years. Where on record things are frantic and full in tonight’s performance the four piece are forced to strip things back to being almost nude. Accentuated by a string quintet courtesy of the Royal College of Music Everything, Everything become easier to investigate as each lyrical eccentricity and twist in their maze of harmony is left open. As a result songs like ‘Suffragette, Suffragette’ and ‘Photoshop Handsome’ take on a new dimension and become more reminiscent of Field Music- a group who must loom at large in these four boys record collections. Of all the bands on show tonight it’s surprising that the most inexperienced are the ones who rise to the challenge the most.

Bombay Bicycle Club have had a stop, start year and could perhaps feel aggrieved that they have not scaled greater heights such is the quality of their debut album. This performance is something of a revelation tonight however as the band seem better suited to the acoustic troubadour style than they do trying to fit their square peg into the round hole of indie-rock. Lead singer Jack Steadman looks particularly at ease and has the jerky teenage introspection of a young Conor Oberst nailed down. It’s often remarked how young Bombay Bicycle Club are but it is tonight made obvious by the introduction of guitarist Jamie MacColl’s Dad Neil playing banjo for the band. A veteran folk performer Neil has made music with Kathryn Williams in the past and tonight he rather amusingly makes the band look like a man called Mumford out with his Sons. The addition of the banjo (Of all the instruments to make a comeback eh?) and vocalist Lucy Rose make songs such as ‘Evening/ Morning’ and a stunning rendition of ‘The Giantess’ feel that much more accomplished. The band inject a youthful blast of vigour into the gig too when they play ‘Always Like This’ which sees the cagey atmosphere rapidly erode as a clap along ensues as the band truly find their comfortable niche.

At the halfway point ‘Gavin and Stacey’ star Mat Horne takes to the stage. Tonight’s show and the subsequent week’s gigs are in aid of the charity Mencap and along with curator Jo Whiley, Horne is here to compere the show. Something of an official groupie for the band Horne warms the stage for The Maccabees who take to the stage to loud screams from posh looking girls with big hair and warm applause from everyone else. The Maccabees have had an amazing year and to see the band play in such a small venue shortly after they headlined the Brixton Academy on their recent UK tour marks this show out as an occasion as opposed to a gig. The band play through semi-acoustic versions of much of their stunning 'Wall Of Arms’ album including particularly sweet renditions of ‘Bag Of Bones’ and ‘Dinosaurs’. All of the bands on tonight’s bill boast singers with a fine set of pipes but none more so than those encased in the throat of Orlando from The Maccabees. His sweet and tender croon speaks of love and heartbreak beautifully and as he and his band of brothers blast through the triumphant ‘Can You Give It’ the only regret is that the band can’t stay on stage longer.

Jo Whiley tells the crowd that Editors were the very first band to sign up to play Little Noise this year which is something of a surprise given at times they look comically under prepared. The responsibility falls on the shoulders of singer Tom Smith who at various points forgets his lyrics, plays wrong introductions and misses his band mates cues to begin. It is far from a disaster however as the collective will of the audience spur the band on to an ultimately successful set. Now three albums into their career the group can pick and choose from across the board of their back catalogue however they kick things off by heavily leaning on new album ‘In This Light and On This Evening’. For an album that has garnered so much attention for it’s electronic machinations the songs melt nicely into the acoustic guitars and grand pianos the group use to play them tonight. ‘You Don’t Know Love’ and the silly of title, excellent of hook ‘Raw Meat= Blood Drool’ show the strength of Smith’s songwriting whilst a rare outing of ‘No Sound But The Wind’ is a treat for fans of the Twilight soundtrack. Older material is visited later on including a cavernous ‘Smokers Outside The Hospital Doors’ and first album cut ‘Distance’ which goes from being a so-so filler track to a stand out slice of beauty. It doesn’t all work however as the band ruin ‘Papillon’ by stripping it of its driving energy and replacing it with navel gazing mundanity. The set ends with a rally though as a frantic ‘Fingers In The Factory’ sends the crowd off into the night nicely.

Everything Everything- 8/10
Bombay Bicycle Club- 7/10
The Maccabees- 8/10
Editors- 7/10

DrownedinSound.com

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The Maccabees Ft. Roots Manuva- 'Empty Vessels'

My favourite band of 2009 have teamed up with Roots Manuva to re-record the single 'No Kind Words'. The original National flavoured post-punk is injected with a healthy dose of inner city soliloquy courtesy of Rodney Smith and given a brand new title 'Empty Vessels'. Fingers crossed this will be how they perform it on the forthcoming NME tour with fellow blog favourites The Drums, Bombay Bicycle Club and The Big Pink.

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How middle class are The Maccabees?

A solid 8 at least.

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Mercury's in Retrograde.

As seen on BBC.co.uk

To me the Mercury Music Prize is a weird one. More important than the BRIT's but less fun than the NME awards it seems caught between wanting to award innovation whilst recognising bands who have already achieved huge commercial success. Personally I'd like to see it revamped slightly to bring it in line with Canada's Polaris Prize with a record sales cap for nominees. This would eradicate the likes of Coldplay being nominated and not turning up to the awards whilst giving much needed mainstream publicity for under-appreciated acts. For that is another strange aspect of this prize, the tabloids, broadsheets, websites and blogs peer and pour over it to the nth degree and in that slightly skewed sense it is important to have a worthy winner. Next week sees the shortlist for this years prize announced, here is who I'd like to see get a mention.

Personally I'd love to see Friendly Fires win the award. I believe the Mercury should award innovation and forward thinking and whilst the Devon based 3-piece have left a crumb-trail from Detroit techno via blissfull shoegaze they still create a sound akin to an intergalactic disco. What I love the most about the band and their self titled debut album is how romantic it is. So often dance music, or music with an eye on the dancefloor, loses it's ability to emote but Friendly Fires make songs about falling in love across the artificial smoke and strobing neon lights- it's a devastating blend. Take the song 'Paris' for example, essentially a flighty tale of idealistic escapism it is elevated by vast caves of heart swelling noise and a rhythm even the most surly curmudgeon would find irresistible. To see a band I first heard on a Kitsune compilation grow and develop into a fully fledged festival rocking monster is a joy to behold and is what the Mercury prize should be rewarding.

Aside from Friendly Fires I'd love to see The Maccabees get nominated. So cruelly dismissed as a landfill indie unit the Brighton band went into to studio with Arcade Fire's producer and crafted an album that sounds like the Canadian band sound tracking a sweet and tender coming of age film. Honest and ambitious 'Wall Of Arms' is the sound of a band growing in confidence and defying all expectations in the process. I fully expect to see The Horrors on the Mercury shortlist with their album 'Primary Colours'- ordinarily I'd be raving about it as the second coming as I have on numerous occasions this year however to me this prize is about innovation along the lines of Dizzee Rascal's stunning debut or Burial laying the foundations for the dubstep movement soaring in 2009. With that in mind I do hope the judges are not swayed by critical praise and recognise that whilst 'Primary Colours' is stunning it is far too retrospective to win the award outright.

Presumably one or two of Little Boots, La Roux and Florence and The Machine will be nominated. I'd like to see Florence join the list as she is one of the most talented performers I have ever had the privilege to watch perform and her album 'Lungs' sounds so lost in it's own passion that you lose all cynicism and find yourself looking for the nearest forest to go stage an impromptu party in. Moreover if Florence gets to play on the night it will rival Amy Winehouse in 2007 for a definitive Mercury performance- there is not a better singer in popular music today than Florence Welch.



To round things off I'll mention a few acts who probably won't get nominated but it would be wonderful to see. Dananananaykroyd and Sky Larkin contribute towards a group of bands in the UK who have created a greater sense of community and independence than any major label, multi million 'campaign' could ever instill into a fan base. Alongside Los Campesinos! they have created three albums in 'Hey Everyone!', 'The Golden Spike' and 'We Are Beautiful, We Are Doomed' that have made the past 12 months consistently exciting and sounding great. Similarly, Future Of The Left are a band who have to do things the hard way and make a glorious racket in the process. Their album 'Travels With Myself and Another' is a furious rant against the ills of society and includes a stunning dismissal of the countries Barfly venues that could unite a thousand jobbing bands in recognition. Elsewhere nods for Metronomy, Patrick Wolf, Franz Ferdinand, Late of The Pier, Eugene McGuinness or Bat For Lashes would all be richly deserved.

If half of these acts make it through (and more importantly White Lies don't) then I'l be a very happy bunny and enjoy the furious internet arguments over who 'deserves' to win with pleasure.


*My money is on The Manic's or The Horrors.

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2009's Quarterly Review: April- June

It's fair to say the last three months have been busy. With so many albums to get through let's crack on.

The Horrors defy all expectations.

'Stupid scensters with bad hair' The Horrors released the Geoff Barrow produced 'Primary Colours' in April and forced every critic in the country to listen to it accompanied with a steaming hot slice of humble pie. 'Primary Colours' is by far and away the best album released in 2009 so far. Esoteric and accomplished it brings light where once there was Cramps fuelled dark. The Horrors have always been a brave and confrontational unit and that transfers into this record, sure it takes some obvious and direct influence but great art is about looking to the past and transferring it to the future. The Horrors have done that and more- it will take a big effort to beat 'Primary Colours' in 2009.

It's Blitz!

When it comes to looking back over the past decade (as we will no doubt be forced to in 6 months time) then band of the decade could well be Yeah Yeah Yeah's. Over 3 albums and 2 EP's they have become a floor filling, tear duct welling tour-de-force that can't be messed with and It's Blitz! is perhaps their most accomplished work to date. Comprising all the components of a great YYY's album it has trashy glamour ('Heads Will Roll', 'Zero') heartbreaking Karen O moments ('Runaway', 'Skeletons') and maybe the best song of the year so far 'Hysteric'. An utterly perfect album.

Stepping up a notch

The Maccabees had the feeling of a band destined to be middle runners, 100% unjustified it would have been but in the great cull of landfill Indie 2009 they could so easily have been a casualty. Instead they came out fighting with 'Wall Of Arms' a gargantuan album with sonic reinforcement that almost matches the heart swelling sentiment that runs through every last second of their material. Produced by Coldplay and Arcade Fire co-hort Markus Dravs the stadium sized dynamics bleed through to The Maccabees touching indie pop to create a deep well of emotion that swirls and resonates beautifully. If they continue making steps up on this level the future looks bright for the Brighton 5 piece.

Hype sisters

They both have vaginas and the hopes of major label bosses resting on their shoulders and that is all but you're duty bound to asses Little Boots and La Roux as a pair. Both have now released their debut albums since they were crowned HOT ONES TO WATCH FOR THE FUTURE 2009 in January. Little Boots 'Hands' is an unashamed and big fun pop album that is most impressive. La Roux's self titled effort however is a more mature and long lasting album that sees a human tear roll down robotic cheeks. For all the talk of 80's influence Little Boots album is the most retro- it sounds like Vengaboys and Billie Piper in places. I fear for where she is heading.

Elsewhere...

Danananaykroyd and Future Of The Left made some of the most brutal but fun thrash pop of the year with their equally brilliant albums 'Hey Everyone!' and 'Travels With Myself and Another'. Bat For Lashes took her mystical boho-pop and with the help of Yeasayer and Scott Walker made it more cohesive and dark on 'Two Suns' whilst Metric took their foot off the pedal a bit and made a considered and at times fun record on 'Fantasies'. Passion Pit built on their early promise and delivered a euphoric pop album that sounds like a sugar rush in a Disney cartoon from the future, if you can hack the falsetto it's marvelous. White Denim continue to ram every genre since the 50's into three minute ditties that sound like they were written and recorded in a cave in the desert. Patrick Wolf released 'The Bachelor' the first of his two album opus these next two years. Featuring Alec Empire and Tilda Swinton it's a moving and powerful piece of work that is equal parts camp and emotional. Kasabian and Gossip both came out with 3rd albums- Kasabian experiment a bit but still can't take the leap fully, probably for the best as their lager anthems are still the best around. Gossip meanwhile made another album like their last only this time Rick Rubin produced it so it sounds nice and tight. Finally, Regina Spektor is beginning to sound comfortable on her major label and is duly bringing back the quirks and kooks on 'Far' an album that contains dolphin impressions and a song about a lost wallet- naturally.

Disappointments.

Maximo Park released 'Quicken The Heart', an album that has its moments but ultimately feels like a band running out of the steam their amazing debut granted them. Like The Horrors or The Maccabees Jack Penate re-invented himself on 'Everything is New'. The not so subtle title fails to mention how he is the new Lou Bega.

To see the best singles of April- June then click here

To get a Spotify playlist of April- June go here.

January- March Spotify playlist.
April- June Spotify playlist

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Boring by the TV

Another ad for the Video blog I set up the other week today, mainly as I've not written enough to fill all 5 days and am in London today. So yeah, music videos. I started the blog as I was seeing so many I really liked and I'm seeing new things all the time. This week for instance you can see new promo's from Empire Of The Sun (so much $$$), Lady GaGa, White Lies, Phoenix and La Roux. They join entries from last week courtesy of The Maccabees ("I put the kettle in the fridge"), Mika Miko and Kings of Leon.

Is this a good idea for a blog? I feel like if I didn't do it myself I'd definitely have it bookmarked and visit daily so I guess it is. I like how it works as a kind of playlist or mixtape too. Finally, if anyone knows of cool videos I'd be interested in then let me know.

Find the video blog here: http://boringbythesea.tumblr.com/

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For the Record: May

Shit, totally forgot it was June already. May's been a pretty great month all in all, maybe the best of the year so far. Here are my picks of the best albums released during the month.

The Horrors- Primary Colours (Review)
The Maccabees- Colour It In (Review)
Patrick Wolf- The Bachelor (Review)
Passion Pit- Manners (Review)
Jarvis Cocker- Further Complications
Miles Benjamin Anthony Robinson- Miles Benjamin Anthony Robinson
Grizzly Bear- Veckatimest
Maximo Park- Quicken The Heart (Review)


I genuinely can't decide between The Horrors and Maccabees for album of the month. The former is such a massive progression and makes me feel proud of the band, like watching a bullied child hit back with a round house kick. However The Maccabees have made their own steps forward and made one of the most romantic albums I've heard in years. Chances are they'll both be competing for the #1 spot in my end of year poll- let's call it a draw for May and let battle commence in December.

Notable absensces: Green Day and Manic Street Preachers. Old men in punk bands are the saddest thing in the world.

Download these

The Horrors- 'Sea Within A Sea'
The Maccabees- 'No Kind Words'
Patrick Wolf- 'Damaris'
Passion Pit- 'The Reeling'
Jarvis Cocker- 'Angela'
Maximo Park- 'Roller Disco Dreams'
M-BAR- 'Buriedfed'
Grizzly Bear- 'Two Years'

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April: Blog Highlights

So what happened in April? Well...

Trent Reznor kicked things off by being very funny indeed

The Horrors and Dananana made amazing albums for me to review.

I met up with Orlando from The Maccabees for a chat.

Then went to Manchester to see Karen O tear it up.

Alison Mosshart proved she was once human and not a robotic cool machine.

and Jamie T returned with new music from his Sticks N Stones EP.

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Wall Of Arms

Review here. Buy this, make them rich and famous- you won't regret it.

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The Maccabees- 'Wall Of Arms'

///Gigwise///

The Maccabees emerged amidst a wave of London based bands such as Larrikin Love, Mystery Jets, Good Shoes and Jamie T. All had successful debut albums with The Maccabees effort ‘Colour It In’ an unpolished gem of heart bursting pop floor fillers and romantic, introspective interludes. In the time between releasing ‘Colour It In’, until now the eve of their second LP ‘Wall Of Arms’ the Brighton/ London five piece have seen the friends they emerge with suffer mixed fates. Larrikin Love and Good Shoes have slipped away into the indie abyss whilst Mystery Jets and Jamie T have morphed and evolved becoming bigger and stronger with each incarnation. It is with focus on the latter then that The Maccabees emerge with this their follow up LP, the album of their lives.

Immediately it is clear that the band have developed. Whereas singer Orlando Weeks always had a rich and passionate voice, it was sitting atop a well worn series of Gang Of Four chords and XTC angular riffs. This sound treated them well first time out but a repeat performance would have proved stale. Instead producer Markus Dravs (Bjork, Arcade Fire) has been roped in and has brought his epic ‘Neon Bible’ manning skills to the table. As a result the instrumentation sounds less rushed, a more assured and confident style which builds to a crescendo is used throughout the albums duration. As the brass band stand to ceremony at the end of ‘Love You Better’ it soon becomes clear that ‘Wall Of Arms’ is the sound of a band taking huge strides forward. Similarly bombastic are the stabbing and urgent ‘One Hand Holding’ and the communal beauty of ‘Can You Give It’, chances are you have already heard ‘No Kind Words’ so will know of its National-esque dark and brooding quality. Often a band who wants to race you to the finish line this album sees The Maccabees handling their slower moments with aplomb too- ‘Young Lions’ and ‘Bag Of Bones’ tap into the innate beauty of Weeks song writing and expose a brittle and tender heart. Throughout 'Wall Of Arms' the presiding feeling is that of a band who have made a deeply personal record, a piece of work for themselves- that honesty shines through and is intensely charming and admirable.

Too long overlooked as ‘another indie band’ Wall Of Arms’ is the moment The Maccabees reach self-realisation. This is the sound of burgeoning romance, unrequited love, chest beating passion and tranquil, all encompassing warmth. Sure to be one of the years finest releases.

9/10

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Words with... Orlando Weeks, The Maccabees.

For Gigwise

"Darth Vader on the drums, someone as Princess Leia coming on to the Star Wars theme tune". That's the elaborate stunt Orlando Weeks fears his label may suggest as promotion for his band The Maccabees new album 'Wall Of Arms' due out on May 4th (be with you). "It'd be the end of our career but at least we'd be remembered." In reality the band could come on stage dressed as Jar Jar Binks and 'Wall Of Arms would still go down as one of the finest albums of 2009.

Following their self-declared “Rubbish.” final shows in support of ‘Colour It In’ at last Summers Offset festival, of which Orland says “We only really agreed to play it because Gang Of Four were headlining- we should have just bought a ticket. I’m sure we could have afforded it.” The Maccabees went away and started over again. “We thought we had a lot of songs written and that we were going to be able to go away and at least do a big EP but then we realised they were all shit so we decided to begin again. Entering the studio with the album fully written (but for some “jiggery” left to do on ‘William Powers’ and ‘One Hand Holding’) The Maccabees began recording with Markus Dravs, a key influence on the album and a man who has previously worked with Arcade Fire and Bjork. “The first record was done so sporadically that we wanted to do this one on a block so we recorded in Liverpool and Reading then moved onto Paris. This record was written to be recorded then played live whereas the first one was done the other way around. Markus came in when we had about 90% of the songs written, we met him in London and we just knew he was the right person to do it in every respect. Plus, he’s a German Scouser which is something to mull over.” We move on with a thousand stereotypes jostling for position.

Speaking of influences, “We listened to a lot of The National and a lot of Arcade Fire when we were writing and recording the album. The National are such a special band, ‘Boxer’ is an amazing album. At one point the song-writing process became sort of destructive and we found going in the studio 6 days a week was proving really non-productive so we spent some time away from each other and the stuff we were listening to changed immensely. All Felix (White, Guitar) listened to was Public Enemy and Rage Against The Machine, real angry music. Hugo (White, Guitar) was into Orange Juice and all the Postcard Record stuff and I was going back to Grizzly Bear and Animal Collective and that’s when the new stuff started to come together because we were all bringing new ideas in and we had to sort of cross-pollinate.” With relatively left field influences at play how has this informed the new album? “I’m not sure, I think someone like Animal Collective works on a separate level. It doesn’t mean we sound like them now but it readdresses how you approach music. Unless I’m out for a drink, when I listen to music I want it to challenge me. You listen to someone like Grizzly Bear and you have to dissect it. That’s why I think Foals are interesting and Mystery Jets too- you listen to them once then go back and hear something totally different every time. Hopefully that’s what we’ve got into this record, the opportunity to take it at face value and then revisit it and find more. “

The most surprising element of The Maccabees return is not necessarily how much they have grown nor how accomplished ‘Wall Of Arms’ sounds but that people were not expecting it. Initial reactions to both ‘No Kind Words’ and the new single ‘Love You Better’ have been positive but from taken aback, does this mean The Maccabees have been underestimated in the past? “I think a lot of it was to do with the singles we released from the last record really. I’m proud of that album and I’m proud that we made a record in itself but the singles didn’t represent the album as best it could and I think things like ‘Toothpaste Kisses’ coming out when it did (Following a TV commercial) meant people forgot the songs were on the same album as say ‘Latchmere’. I don’t think people underestimated us as such it’s just we got grouped in with the whole indie thing or whatever moniker you want to put on it and people assume that you’re new music will sound the same as the last. I hope it doesn’t, it’s nice to surprise people.”

As talk turns to the new Horrors album (“He’s a tricky fish is Faris but he’s lovely and they’ve all got such a good grounding in music that they could only ever make a great record”) and The National curated Dark Was The Night compilation it becomes clear that The Maccabees are a band in love with music, both making it and listening to it. It’s with great symmetry then that they have written an honest and beautiful record in ‘Wall Of Arms’ that both elevates their stature and reputation whilst remaining true to the bands roots, a record that an army of fans can fall deeply into and unlock a myriad of wonderful treats.

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The Maccabees- Liverpool O2 Academy March 28th

Also on This Is Fake DIY

There is a lot of talk (and I mean a lot) of talk about the new album from The Horrors and how remarkably different it is from their debut. However if you really want to hear a second album taking on leaps and bounds then you need to listen out for The Maccabees forthcoming LP 'Wall Of Arms'.

Tonight's show is the first chance a lot of the bands fans to hear the new material and they get ample opportunity with roughly half the set comprising of fresh material. This does perhaps lead to the occasional lull in atmosphere as the unknowns leads to intrigue as opposed to screaming and dancing. Whilst the crowd assembled may be unfamiliar with the new stuff this writer has heard 'Wall Of Arms' and confirm the songs are already sounding bigger and braver than the established favourites from 'Colour It In'. Kicking off with the free download 'No Kind Words', with its deep and rich vocals backed with the post-punk rhythms the band are renowned for is a great start. Building on the momentum 'Can You Give It', 'Seventeen Hands' and 'One Holding Hand' sound monumental with a new found confidence and epic sense of melody now running through the bands tales of romance and burgeoning relationships.

Inevitably however it is the old favourites the crowd surge and scream for the most. It's with good reason too, 'X-Ray' and 'Precious Time' are given a fresh impetus and joie de vivre whilst 'Lego' charges along nicely. There is the odd false start such as new b-side 'The Accordion Song' sounding OK but it must be said guitarist Felix's voice is not a strong point of the band, especially when you consider they could have played the much missed 'Latchmere' in its place. Similarly 'Toothpaste Kisses' is no longer representative of the band and sounds more and more like what it is best known as- a mobile phone advert jingle.

Minor quibbles aside this is a triumphant show for a band leaning heavily on a largely unheard record. As the set ends with the forthcoming single 'Love You Better' you can't help looking around the room at the people singing and dancing, then looking to the stage and seeing the same joy reflected back from the band and not begin to suspect that The Maccabees might just be the best young band in the country right now.

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March's Best Bits

Yeah Yeah Yeah's- It's Blitz reviewed. link
Jack White and Alison Mosshart start new band. link
The Art of Stepping Up. link
Words with... School Of Seven Bells. link
Metric- Fantasies reviewed. link
Bat For Lashes- Two Suns reviewed. link
Jack Penate returns. link
So do Maximo Park. link
And The Horrors. link

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The Art Of 'Stepping Up'

Ask anybody with access to promo copies of soon to be released albums what they are currently listening to and you will be met with two likely answers: The Maccabees and The Horrors. Both these bands forthcoming second albums are creating undue amounts of buzz, hype and any other words that mean 'journalists like this'. Interestingly both acts are being praised for making albums immeasurably better than their debut albums. Personally I have always found The Maccabees and The Horrors to be two of the most misunderstood bands around.

It has always struck me people associate The Maccabees with 'landfill indie' and the mass swathes of indeti-kit groups who emerge and disappear without making a lasting ripple. However when I listen to The Maccabees I hear a band with a heart as deep as a well and more romanticism than a thousand Pete Doherty B-Sides. 2007's 'Colour It In' is ram packed full of naive tales of young love set to a skewered post-punk backdrop. 'X-Ray', 'Latchmere' and 'About Your Dress' should be indie disco floor-fillers for eternity and 'Toothpaste Kisses' or 'First Love' could soundtrack a thousand burgeoning love affairs. So when I first heard the new material from the Brighton four piece's new album 'Wall Of Arms' I was far from shocked at how good it was. Cries of enjoyment spread across message boards of "It's like The National with bigger production" or "This is so not what I was expecting" as each album copy dropped on every door step. To me 'No Kind Words' and 'Love You Better' sound like the band I knew existed landing the sucker punch they had previously promised.

If The Maccabees were underrated then The Horrors were rated, slated and hated to the nth degree. I'm not sure a more divise band has existed in recent times and that's what I have always loved about them. There are two sticks the detractors hit The Horrors with A) They are ripping off bands like The Sonics and The Cramps B) They are style over substance. The latter of these complaints has always struck me as a nonsense insult. So what if a band look like they have taken more than five minutes to get dressed? I like a band to look better than their audience. As for their music well sure, they wear their influences on their sleeves but for a relatively mainstream band they have decidedly left field tastes and the same can be said for their music. Having seen the band play with such 'pioneers' as The View, The Automatic and the The Fratellis I can tell you there is no greater pleasure than seeing a confused lad rock devotee staring stage-wards with a mixture of fear and anger spreading across his face as he realises there will be no opportunity to throw his pint in the air arriving any time soon. Much like The Maccabees Faris Badwan and co. have made a significant step up with their second album 'Primary Colours' (full review coming soon). For a band who have always been uncomprimising the whole record is an subversive middle finger to their harshest critics.

In an industry so willing to chew up new bands and spit them out again it is encouraging to see two bands taking risks on their second records and coming out victorious. It's the attitudes of the people who had written these bands off that is suspect. How are bands meant to develop and grow when they are so quickly pigeon holed? It's no wonder acts turn in carbon copies of their debuts when that is what the world seems to want them to do. Support bands, have faith, allow them to take their time over things and good results will come. Hopefully The Horrors and The Maccabees will inspire more bands to take the necessary risks.

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February's Best Bits

As the years shortest month of the year comes to an end it gives us a chance to look back on the most interesting posts of the last 28 days.

+ Words with... Passion Pit.

+ Peter Doherty- 'Grace/ Wastelands' review.

+ The Brit Awards happened.

+ Amazing documentary from VBS.tv on Donk music.

+ WTF?! moment of the month- Morrissey appeared on The One Show.

+ New video from The Maccabees

+ Valentine's Day Playlist.

+ NME Awards Tour 2009 reviewed.

+ Album reviews of Lily Allen, Empire Of The Sun and NASA.

Plus much much more on The Soft Pack, Temper Trap, Eugene McGuinness, The Grammy Awards and The Rakes return.

61 posts in 28 days. Is that a bit too much? Possibly. March will be a bit leaner, less flab.

February was also the month the media went creepy dominated by news of Rihanna, Chris Brown and Jade Goody. All very grim and depressing, at least Blur turned up right at the end to remind people how good the Summer festivals will be.

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'No Kind Words' video debuts

Matt Horne continues to try and convinve people he is 'indie' by appearing in the new Maccabees video that you can see below



It's a good video but I can't help feel it's been done better somewhere else before. 'No Kind Words' is still definitely my favourite song of '09 thus far.

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Valentine's Day Playlist

So tomorrow's the big day, the official Hallmark day of romance- Valentine's Day. Has everyone got someone to send a card? Anyone planning any big gestures? A proposal? Anyone ever been dumped on Valentines? I ask as if I care, I don't really but this is a good opportunity to make a playlist. Below is the ultimate Boring By The Sea Valentine's Mix. You can listen to it on Spotify by clicking here or tell me what is missing by leaving a comment.

• Bright Eyes- 'Lua' (I'm Wide Awake, It's Morning)
• Cat Power- 'Sea Of Love' (The Covers Record)
• Friendly Fires- 'Paris' (Friendly Fires)
• Laura Marling- 'New Romantic' (Demo)
• Outkast- 'Ms Jackson' (Stankonia)
• Radiohead- 'No Surprises' (O.K Computer)
• Regina Spektor- 'Us (Soviet Kitsch)
• The Maccabees- 'First Love' (Colour It In)
• The Cure- 'Inbetween Days' (The Head On The Door)
• Those Dancing Days- 'Hitten' (Those Dancing Days)
• TV On The Radio- 'Staring At The Sun' (Desperate Youth, Bloodthirsty Bastards)
• Weezer- 'Say It Ain't So' (Weezer)
• Eugene McGuinness- 'A Girl My Eyes Shine For' (The Early Learnings Of...)
• Yeah Yeah Yeah's- 'Maps' (Fever To Tell)
• The Smiths- 'There Is A Light That Never Goes Out' (The Queen Is Dead)

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