Round-up Tracks: The Maccabees, Disclosure & More

With their new album out today (31st July), ‘Spit It Out’ is the final preview arriving ahead of ‘Marks To Prove It’ being released. Sprawling and vacant, the introduction rings with echoes of nostalgia. Haunting drones spiral delicately through a haze, while a sole piano accompanies Orlando Weeks’ melancholy vocals through a dimly-lit daze. After a minute of the delicate and the intangible, just as the spine-chilling melody seems about to cross over into something completely ethereal, ‘Spit It Out’ begins to find its form.

Strident refrains and defined rhythms flesh out and embolden. What starts out seemingly frozen, dainty and demure, soon becomes the force to be reckoned with. Volume rises to a ringing crescendo. The piano melody that was previously so chilling now races alongside searing resounding guitars. Vocals are gripped by a deep fervour. Lavishly cinematic, ‘Spit It Out’ is a vivid portrayal of a group at the end of their tether. Repeatedly quoted saying they weren’t sure this album would ever happen, The Maccabees have been to the edge. “What are we doing now?” the lyrics question over, and over. The answer is evident in the track itself, as cries of “spit it out” meld with searing electric solos and strident chords from a grand piano. Much like the band have said of the album, there are many reasons why it shouldn’t work. Fortunately, The Maccabees have succeeded in forging a sound that’s purpose-built and ready to infatuate. (Jessica Goodman)

Three years on from releasing ‘Latch’ as fresh-faced newcomers, the gang are back together; Disclosure and Sam Smith a merry little dance-rabble once again. In many respects, their lives have tipped upside down. Now Disclosure - Howard and Guy Lawrence - swan about with pop’s A-list, present a show on Beats1, and perform late-night tent closers inside giant robotic stage-sets. Once a virtually unknown guest-spot, these days Sam Smith is a household name in saucy warbling, and if the video for ‘Omen’ is anything to go by, he’s developed a penchant for snazzy shirts. On the other hand, nothing has changed at all. Dangerously consistent, Disclosure are still forging on with the very same dance-in-your-bloodstream sound that led them way ahead of the pack in the first place.

It feels emblematic - like an ‘Omen,’ even - that Disclosure release their second Sam Smith collaboration the same week as revealing the full list of collaborators for second album ‘Caracal’. Bursting with big names like The Weeknd, Lorde and Miguel, the lesser-known talents in the mix - like Nao, and Lion Babe - will surely go the same upwards way as ol’ Sam after featuring on a Disclosure album. The truth is, Disclosure are a huge powerhouse influence in dance music. ‘Omen’ may not do anything wildly radical or different to previous singles, but as they say, if it ain’t broke, don’t fix it. (El Hunt)

We’re a long way off from a summer of love. While Twitter wars wage out every half a second, opinions clash and at least half the world’s in tatters, it’s hard to stay focused on partying and freedom. Still, that’s never stopped Chk Chk Chk (!!!) and their fiery take on dance before. And it’s not going to stop them now, raising the dial on a hot and sticky season just when things get ticking. Forcing the agenda, they blend escapism and frenzied delivery like staples from their reliable back-catalogue, but ‘Freedom! ’15’ is the sound of !!! racing ahead. Chugged baselines, chunky pads and free thinking have always been this group’s motifs, but when escape feels this close, it’s hard to resist. (Jamie Milton)

Angel Haze has always had an innate talent for storytelling that’s impossible to fake. Their debut album ‘Dirty Gold’ told dozens and dozens of stories; sometimes sad, often bittersweet, occasionally, glancingly, optimistic. This year’s one off release ‘CANDLXS’ was their most upfront love song yet, and Angel Haze seemed to be hitting a new stride. With ‘Impossible,’ add empowerment to their potent emotional roster.

With verbal dexterity to rival Kendrick, a quick-smart Angel Haze declares themselves “a junky for fucking semantics,” over tinny, thudding trills. “I got my middle finger up to white America,” they spit, “but tryin’ to whitewash my blacknesss, fuck you, you could never break me.” They always had these tools at their disposal before, but here, they’re used to vicious, unstoppable effect. There’s a new kind of feral hunger to ‘Impossible’. Dangerous, looming, and meticulously crafted, it’s a gigantic step up for Angel Haze. Though no second album has been officially announced, Angel Haze has been toying with new directions, and as the first single proper, ‘Impossible’ marks the turning point going into a new project. The unstoppable lyrics may well be self-fulfilling. On this evidence, Angel Haze’s next steps should be closely watched. (El Hunt)

After the early unveiling and ensuing label drama of ‘Way Too Much’, at last things seem to be running smoothly for Nathan Williams and company. With this new track, Wavves have fanned the ‘Flamezesz’ of their ingenuity, and they’ve emerged from the ashes with something brand new.

Nathan Williams’ vocals take point throughout, clear-cut amidst rapid drumbeats and raging guitars. The chorus explodes with a let-loose-like-it’s-all-that-matters energy, refrains soaring and skidding into a stripped-back pep-talk verses.Sincere sentiments collide and combine with raucous melodies, making ‘Flamezesz’ a track that bludgeons as much as it benefits. Equal amounts wild and contagious, ‘Flamezesz’ rages through words of warning and messages of advice at a breakneck speed. “All these distractions that leave me blind, watch as they gently trip out of my mind” the lyrics echo, ricocheting into a chorus thundering enough to lift anyone out of their senses for a moment or two.

Forthcoming album ‘V’ marks the first time Wavves have recorded an album in a professional studio set-up, and it shows. The refrains are still ferocious, guitar riffs as filthy as they ever have been, but the sound is more immediate than ever. Warning against the monsters lurking in the shadows, it’s no surprise the message sounds so critical. Fuelled by the same raw power that has flooded through Wavves’ previous releases, it’s evident that the outfit has lost none of its spark. Nathan Williams has ingrained his unique flair with excitement, and Wavves sound more exhilarating than ever. (Jessica Goodman)

Creating a little pocket of sheer unadulterated serotonin in the woods at Latitude earlier this month, Nao was a festival stand-out. Vaguely blending the instinctive, joyful essence of Stevie Wonder with smartly-turned out pop innovation, and the reckless invention of Kelis, it’s tricky to her pin down in a catch-all description. That’s the fun of Nao.

Next to her ‘So Good’ collaboration - with Jai Paul’s brother A.K Paul - or the crafty, stair-creeping synth-lines of ‘Zillionaire,’ ‘It’s You’ leans towards the classic Rn’B side of the spectrum, though as with everything else she’s released, it does so in a left-of-field, skew-whiff kind of way. This week Disclosure dished the dirt on all of the collaborators for their upcoming second album ‘Caracal’; Nao being one of them. Get set. She’s probably going to be massive in a year’s time. (El Hunt)

Tags: Disclosure, The Maccabees, Listen, Features