The long-running franchise's latest instalment "might be the summer's most satisfying blockbuster"
The Maccabees - 'Given To The Wild'
They've given us the first classic album of 2012
Working with DFA’s Tim Goldsworthy, the band have brought in new electronic elements and cast aside their usual jam-based method of writing in favour of devolving power, each member of the group devising sections and emailing them back and forth. It had the potential to be a disaster, losing their essence to new ideas in an attempt to branch out. The sun-parched savannah on the Andy Goldsworthy-designed sleeve of ‘Given To The Wild’, where hungry flames advance towards a lonely, egg-shaped kiln illustrates the dangerous, exciting possibilities. The wildfire can be destructive, but it’s also purifying and fertile – by casting themselves to the flames, The Maccabees have forged an identity more purely them than ever.
For all the new ground and new sounds, ‘Given To The Wild’ is a remarkably restrained album. Restrained, but not reserved – there are tidal swells of feeling, but always kept reined in until just the right moment. Guided in by soft, ambient swathes, ‘Child’ floats deliciously on liquid guitar and a slow, cradling bass, establishing this as a subtler record than ‘Wall Of Arms’, Orlando’s voice a whispery, watercolour thing, Felix and Hugo’s guitars rippling and glimmering. When the album cuts loose, though, it really cuts loose, as on ‘Feel To Follow’ where Orlando’s tentative, treated vocal and bare drums tremble on the brink of something huge, some unnamed emotional epiphany. “How will I ever dare to breathe?” he wonders, guitar lines fluttering around him before catching him up and soaring off intoa brave sci-fi dawn. The standout, ‘Forever I’ve Known’, casts a moodier shadow amid all the light and beauty. Orlando tries to convince a lover to paper over the cracks, his voice wavering brokenly over keening guitar and ominous bass as he pleads “Couldn’t you just lie/I’m a child to your voice and I know nothing stays forever… you know that I’ll make it easy” as the song builds into a painful sweetness before the floor is suddenly pulled away and it drops into the furious, frustrated eruption of a serrated riff. As often on this record, it walks the same canyoned, mountainous territory as stadium bands like Coldplay, Kings Of Leon, or more aptly, Arcade Fire – it’s never overreaching or overdone.
‘Pelican’ punches brightly and skippily out of the softly rolling ‘Heave’, the band careering around on the Great Cycle Of Life as Orlando crows “before you know it pushing up the daisies”. ‘We Grew Up At Midnight’ closes things neatly with a valedictory chorus of sweet nostalgia.
The album is beautifully structured, leading from spare and shimmery beginnings into harder, weirder and more varied territories, all those snippets and elements and personalities crafted into a shifting, subtle whole that quietly captures your attention from start to end. It’s an entrancing adventure – to see a band we’ve loved from the start grasp their potential and reach so far is inspiring by itself. That the call of their wild is so beautiful makes it all the sweeter.
With Skepta and Stormzy dragging hard lyricism into the mainstream, Flowdan’s blunt rap suddenly feels on trend
The Canadian band bring little to the table with their second album of meat-and-potatoes tunes
Please, let this fifth Ice Age film be the last
Spielberg’s take on the beloved Roald Dahl novel is restrained, nostalgic and sweetly sentimental