CD: The Vaccines - What Did You Expect From The Vaccines?

Forget the hype, this building-block rock is just alright

Judging by the ballyhoo London’s Vaccines generated at the beginning of the year, it seemed a dead cert that they’d be pretty spiffy. If not the best thing since sliced bread, then they’d at least be fairly toothsome. Based on this, though – their debut album – it’s impossible to see what the fuss was about. What Did You Expect From The Vaccines? is alright, a bunch of familiar indie building blocks reassembled in a way that neither thrills nor surprises.

Of course, there’s nothing wrong with music that reconfigures existing templates. If it sparkles, has verve and panache, and – cut-up technique-style – puts it all back together in surprising ways, it can thrill. The early Rolling Stones’s Home Counties Chuck Berry homage was kinetic and irresistible. No one begrudges the Sex Pistols borrowing from the New York Dolls. Less pantheistically, Glasvegas’s Jesus and Mary Chain overhaul worked a treat. Brooklyn’s Frankie Rose and the Outs take a raft of Eighties/Nineties indie styles and joyfully run with them. But over a whole album, The Vaccines’ Strokes/Mary Chain/Ramones blend is delivered so drably it fails to engage. It comes, and it goes.

Individually, songs work fine. “Post Break-Up Sex” (their second single) is catchy, its lyrics wryly humorous and knowing. “Blow It Up” is anthemic and could even become a stadium sing-along. “Wreckin Bar (Ra Ra Ra)” is A-OK Ramones lite. Beyond the weedy production, a core part of the problem is singer Justin Young’s drab monotone (in a former life he was folkie Jay Jay Pistolet). With The Strokes, it works due to Julian Casablancas's NYC/Lou Reedisms. Only on closing cut “Family Friend” (an overlong echo of “Just Like Honey”) does Young push his voice into other registers, offering any drama. The unlisted final track, the solo piano reflection “Somebody Else’s Child”, is the highlight as it ditches the templates. If What Did You Expect From The Vaccines? had come out on an Eighties/Nineties indie like The Subway Organisation, it would have fit snugly without attracting too much attention. But right now, and on Sony, this unambitious photocopy of a photocopy is, well, alright.

Watch The Vaccines' video for “Post Break-Up Sex”


Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.

rating

0

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more new music

Three supreme musicians from Bamako in transcendent mood
Tropical-tinted downtempo pop that's likeable if uneventful
The Bad Seed explains the cost of home truths while making documentary Ellis Park
Despite unlovely production, the Eighties/Nineties unit retain rowdy ebullience
Lancashire and Texas unite to fashion a 2004 landmark of modern psychedelia
A record this weird should be more interesting, surely
The first of a trove of posthumous recordings from the 1970s and early 1980s
One of the year's most anticipated tours lives up to the hype
Neo soul Londoner's new release outgrows her debut
Definitive box-set celebration of the Sixties California hippie-pop band
While it contains a few goodies, much of the US star's latest album lacks oomph