Album Review: The Vaccines – English Graffiti

What Did You Expect From The Vaccines? “Definitely not this” should be the answer, following a first listen to the group’s new record, English Graffiti.

The barrage of noise assaulting the listener in the album’s opening 10 seconds is reminiscent of the relentless hammering of guitars, bass and drums used to begin their 2012 record, Come of Age. However, there are defining differences; these new shimmering sounds bounce out of the speakers, indicating a shift from the simple guitar-driven riffs of the band’s debut towards experimental indie electronica. This is arguably the result of working with producer Dave Fridmann (The Flaming Lips, MGMT): a decision which has clearly moved the group into new territory and out of a dangerously self-destructive comfort zone, albeit with frustrating consequences.

If the opening four tracks had been released as an EP, there’s no doubt we could be awaiting one of the year’s greatest records

The first three tracks from the album have all been released as singles to relatively widespread acclaim, and the fourth, ‘20-20’, has received a significant amount of attention due to its undeniably catchy sing-along chorus, already making it a summer festival favourite before a single tent has been erected and a £6 bacon sandwich has been eaten by a hungover wreck in a muddy field. If these opening four tracks had been released as an EP, there’s no doubt we could be awaiting one of the year’s greatest records from one of Britain’s most unappreciated rock bands. Unfortunately, following the 1-2-3-4 whammy of English Graffiti’s first 15 minutes (and they are truly great), the album seems to wash over you and leave you wondering whether the three year wait was worth the 35 minutes it takes to listen to it.

Fridmann’s electronic influences are woven into almost every song, creating the group’s most consistent sounding record yet; consistency being something I believe the band have struggled with on previous releases (most notably in the tensions between solid indie anthems and obscure surf-rock scattered throughout Come of Age). Consistency also sounds a little bit like complacency in light of singer Justin Young’s recent comments regarding the band’s level of fame; with the release of this new record, he’d like his band to reach the levels of success found by Arctic Monkeys and more dramatically, U2. I also wish this upon The Vaccines, having been a firm believer since the release of their debut record in 2011. However, each release seems like a stepping-stone onto something greater – following Come of Age, I predicted the next record would be the groundbreaking leap to arena shows, top-billing at festivals, and artistic credibility. Instead, English Graffiti sounds like a very fun sidestep from this transition. It fails to reach the emotional highs (or is that lows?) of songs like ‘Family Friend’ from their debut album, whilst never quite nailing the indie rock anthem in the same way ‘Teenage Icon’ managed to in 2012.

It fails to reach the emotional highs from their debut album, whilst never quite nailing the indie rock anthem in the same way they managed to in 2012

What we’re left with is a bunch of quite wonderful melodic but unimpressionable numbers such as ‘(All Afternoon) In Love’, perhaps their most undeniably romantic song yet, devoid of all irony and smart-arsed observations. The hazy electronic sheen of these later songs unintentionally blends many of the tracks into each other and also exposes any unwelcome filler tracks (‘Radio Bikini’, I’m looking at you). A late album track, ‘Give Me a Sign’, manages to have verses more beautifully written than the upbeat, poppy chorus, which I’m certain will still sound great in a live environment come summer.

English Graffiti may go on to be the first step in a new, exciting direction for the band, whilst never quite living up to the anticipation it created. Call it their Humbug or The Unforgettable Fire. This is The Vaccines stepping out of their comfort zone and creating an enjoyable, consistent body of work with its own defining identity. For that, we should be grateful, but as always, I can’t wait to see what lies ahead.

Key Tracks: ‘Handsome’, ‘20-20’, ‘Give Me a Sign’