There's always a struggle to achieve some semblance of equilibrium between crafting something forward looking and ambitious, versus hitting ‘record’ and blitzing through something raw, sexual and in display of enough energy to basically jack-off in your ears in some deranged rock-fit-of-pique. Particularly if you're egged on by the sharp end of a musical dynasty. If you want to risk decimating what made you at once derivative, unique and charming, then I suppose you won’t be told otherwise. Or at least say, 'Yeah, The Vaccines have some good ideas and are a good band and I was terribly, terribly mistaken by thinking they were just a Home Counties facsimile of The Strokes but seven years too late.' And then came this - a comment about as perceptive, insightful and helpful as an owner addressing their pet and saying: 'You should eat cat food because you're a cat': ' Ethan Johns told us to make a live record because we're a live band.' I may as well start going round telling every naysayer who pipes up that when the mushroom cloud of hype dust settles the world is in for a treat and then they'll get out of my life and shut up.' Doesn't this bode well for the quality of songwriting on their second album? They'll surprise some haters yet. 'Ah!' I thought, 'these boys have got some guile. A stately, haunted, hugely personal piano fugue with an unexpected chord change that kinda makes it transcendental. there is a hidden track ( ‘Somebody Else’s Child’). after the final track of What Did You Expect From.
It seems neither respectful, nor enlightened to begin a review of any band's second album by bringing up a point about their first, but this point is (a) about the transition between the two, (b) somewhat inevitable and (c) fuck it, this isn't a tea party and I’m not going to keep my elbows off the fucking table.
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