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It's all there: the reverby production that told you a little about Phil Spector's influence on the period's alt-rock and a lot about inadequate acoustic tiling in cheap recording studios the guitars struck with angsty, frustrated downstrokes the drums that either go bum bum-bum tish in imitation of a 60s girl group, or else race along with the clipped precision of a cheap drum machine the closing track that ends in an improvised noise freak-out of preternatural weediness the lyrics that pout sulkily at a girl who's chucked them. It's a sensation borne out by the rest of What Did You Expect from the Vaccines? – a title that rather prompts the answer: I'm not sure, but it certainly wasn't an album that sounds like dimly remembered Bristolian shamblers the Groove Farm.Ĭomparisons have been drawn to the Strokes, but the Vaccines really recall rigorously unfunky, pre-Madchester indie. Meanwhile, listeners of a certain vintage might wonder how they missed the meeting where it was decided that the next big thing would resemble something off the once-reviled NME cassette C86. It starts, it ends the most interesting thing that happens in between is a lyric about F Scott Fitzgerald, which with the best will in the world, seems unlikely to kickstart a new era.
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More troublingly, while it's a good idea to set out your stall with a song that lasts 84 seconds – hinting at a snotty take-it-or-leave-it directness – it generally helps if said song does something striking within those 84 seconds, and the three-chord thrash of Wreckin' Bar doesn't. The bit in brackets is a little unfortunate given the negative attention Cowan's privileged background attracted, leading to the hope that every Vaccines song might come with a parenthetical subtitle that inadvertently suggests a life of moneyed advantage: (Totes Amaze!), (According to My Former Housemaster) or (How Dare You Address Me Like That, You Little Oik, My Father's Master of the Beaufort Hunt). You can see why they might on the basis of debut single Wreckin' Bar (Ra Ra Ra). The notion that anyone would rigorously police their record collection along class lines – a firm no to Nick Drake, Public Enemy and Crass, a hearty welcome to Northern Uproar, Phil Collins and Skrewdriver – is so specious, it leads to the suspicion that people were just using whatever they could lay their hands on to batter a band they didn't like much in the first place. Much heated debate about privileged musicians followed, allowing another airing of the famous toffs-can't-rock argument, previously big with noted thinker Alan McGee and the drunker wing of Oasis's fanbase. No sooner had the Vaccines' media drum roll begun – one journalist proclaimed them "the band that will kickstart a new era" – than it got drowned out by raspberries, many of them revolving around bassist Freddie Cowan's family background: an old broadsheet article surfaced detailing the four-bedroom South Kensington apartment his mother had apparently gifted him as "a party flat".
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