The Maccabees are bearing their marks

AFTER a decade plus of noble underachievement, last August, London indie quartet The Maccabees topped the UK album charts with their fourth LP, Marks To Prove It. âOvernightâ success following a decade of deafening obscurity took more than a little getting used to. Actually, itâs something theyâre still coming to terms with. They feel blessed â yet it isnât as if their lives have been flipped head over heels. Rags to riches tales donât really happen in the music industry nowadays.
âThereâs a story about Simon and Garfunkel driving to a gig in a beaten up van just as they were starting to break through,â says guitarist Felix White. âA song of theirs came on the radio and one of them turned to the other and said, âThose guys sound like theyâre having the time of their livesâ. Whereas in reality they were still sleeping rough in vans and what have you. Thereâs some truth to that â your world doesnât change immediately. You carry on much as you always did.â
He doesnât mean to sound ungrateful. Having released their first LP in 2007, itâs been a long road to the top for The Maccabees and theyâre immensely proud at having finally achieved a commercial breakthrough (even if, in this era of stillborn music sales, reaching number one has lost much of its previous cachet, and lucrativeness).
âItâs a good feeling,â says the droll, straight-talking White. âHaving been going for so long, to have a number one record wasnât lost on me. You do take a certain satisfaction in that.â
The irony was that Marks To Prove It was the project that almost finished off The Maccabees. Two years in the planning, the album was beset by rows and rifts â âcreative differencesâ that threatened to bubble up into something far uglier. In hindsight, White is faintly astonished the band are still a going concern. There were moments everyone involved wondered about their future.
âIt took a LOT longer than we expected,â says White. âMy brother [Hugo White, Maccabeesâ second guitarist] produced and we were set up in our own studio in Elephant and Castle in London. We literally did everything ourselves: Putting in the carpets, the lot. It ended up to be quite exhausting at an emotional level â we hadnât factored in how much hands-on time was required. When youâve got an outside producer you roll with it. Here, the boundaries were a lot broader.â
They didnât come to blows â but there was no lack of heated disagreement. âWhen youâre making a record that is difficult you have these moments of asking yourself, âWell is it actually going to work out?â
âThe problem is that we went into it non-stop, without taking a break. When youâve got five people trying to agree on something â well itâs not straightforward.â
Marks To Prove It is loosely thematic, though the Maccabees will pull a face if it is described as a concept album. During the recording, they were struck by the changes they saw taking place around them in Elephant and Castle, once a hard-knock suburb but increasingly the home of the mega-wealthy taking over London.
âUsually, youâd go off to Wales or somewhere to make an album,â says White. âBecause we had our own studio, we became more part of the community. And I think that seeped into the record. We werenât trying to make a political statement. But it was inevitable that the environment would have an effect, even if, at the time, we were not necessarily conscious of it. We made a movie too about the recording of the record but also about the people in their neighbourhood and how their worlds were changing.â
Early in their career, The Maccabees received considerable opprobrium in the UK on account of their upper-middle class backgrounds. With a lead singer named Orlando and two Ruperts in the original line-up, they had clearly not come of age in a depressive sink estate (they actually attended elite Alleyns School and knocked around with Florence Welch, later of the Machine). In Britain, their relatively privileged upbringings was used to thunk them over the heads incessantly. How dare they hail from the loftier echelons.
Causing further confusion was their moniker. The Maccabees are named for a breakaway Jewish sect from the year 163AD. Certain commentators floated the theory that the musicians were a quintet of god botherers seeking to subtlety brainwash the indie masses. In fact, the band had come up with Maccabees after flicking through a book at random and were about as devout as Richard Dawkins on a book tour.
A decade on, however, with the British music press much diminished, their origins are far less of a talking point. Indeed, simply by dint of being around so long, they are at that happy position where audiences judge them on their music alone.
âI wouldnât say there was a great masterplan,â says White. âIt isnât as if we sat down and said, âRight each album will be that little bit bigger than the one before.â A lot of the time you are stumbling through, trying to make it work. As a musician, much of your life is about day-to-day existence. That said, I would think that we are the best weâve ever been â and also the biggest weâve ever been. Ten years in, thatâs a great position to find yourself in.â
On the other hand, with time passing on, the five musicians are coming to a point where they donât have the option of pressing a reset button. Rockânâroll is no longer a juvenile lark. Itâs their job. This has shifted perspectives somewhat. In a way, everything they do is graven in stone.
âYou are aware of the permanence of stuff,â says White. âI try not to think about it too much or allow it bog me down. But thatâs one of the reasons the record took so long, probably. Youâre just aware that once youâve made the record itâs out there and you canât do anything to change it.â