The Bowery Presents
The Vaccines

The Vaccines

Porcelain Raft, Very Special Guests Drowners

Mon, April 23, 2012

Doors: 7:00 pm / Show: 8:00 pm

Webster Hall

New York, NY


This event is 18 and over

The Vaccines
The Vaccines
"With 'English Graffiti,' we've embraced modernity. I'm immensely proud of it."

Few modern British guitar bands have had such an instant impact as the Vaccines. Emerging in the summer of 2010 with blend of retro surf punk, Ramones guitars and Everly Brothers pop hooks, their high octane, ultra-melodic sound saw them instantly adopted as the hot new guitar band on the block. The London four-piece -- Justin Hayward-Young (vocals/guitar), Freddie Cowan (guitar), Arni Arnason (bass) and Pete Robertson (drums) -- had only formed in early 2010, but in early 2011, debut album "What Did You Expect From The Vaccines?" quickly achieved platinum status. Just 18 months later, the follow-up, "Come Of Age," hit Number One.

It was a mercurial rise, not least because guitar pop was unfashionable at the time and Young had previously been a struggling singer-songwriter. Under the moniker Jay Jay Pistolet, he'd hauled himself up and down the motorway to small audiences before forming the Vaccines and writing the songs that changed the game.

"I remember writing 'If You Wanna' in the rehearsal room at one of the first practices we ever had," he remembers. "Almost as a joke, I came up with writing what became the chorus. Once it actually sunk in and I realised that we had this big chorus on what had been this indie pop song I stopped and thought, 'There's no one else actually with pop songs this good, with guitars round their necks.' Most people were staring at their feet and covering everything in reverb. We really were in a lane of our own and we benefitted from that."

Indeed, Young vividly remembers playing the tents at Reading and Leeds festivals in summer 2011 and fretting that no one would be there.

"I'll always remember walking into the tent at T In The Park and 20,000 people chanting the Vaccines," he says. "It just sent shivers down my spine."

That was then. The last four years have seen them travel the world, play arenas, and experience the pop dream "way beyond what we ever imagined." However, the ever confident but self-critical Young felt unfulfilled.

"We've often felt that we were a good band but not an important band," he says, "and we want to be an important band."

Thus the Vaccines' game-changing third album, "English Graffiti," in which they tear up the plans and see what happens as they fall around them. The elements of the old Vaccines sound remain -- certainly in the buzzsaw pop rushes of "Handsome," "20/20" and "Radio Bikini" -- but their sonic palette is completely different. An eclectic and surprising adventurous musical mix with songs that acknowledge the Eighties pop of ELO and Duran Duran, while sounding firmly of the now.

"'English Graffiti' feels like a massive departure," says Young. "At times, making this record, I felt I was in a different band. All these influences from Buddy Holly to the Clash often get laid on us, but when they were around, they weren't looking backward, they were looking forward. On the first records, we may have tried to replicate some of those guitar sounds, but this time we thought 'Why not try and go for a sound that's from the future instead?"

The new sound has been achieved by first stockpiling over 50 songs -- Young writes every day -- and then working on the best in an upstate New York studio with Flaming Lips producer Dave Fridmann and Cole MGN, whose name is synonymous with sample-based pop and R&B, not guitar rock.

"They'd never worked with each other before but they became almost this dream team," chuckles Young. "Dave is this sonic wizard and anarchist really, never too scared to push it to extremes. Cole is our age and modern. He doesn't make indie rock records. Dave would record us in the main room and try and get these amazing sounding tapes and Cole would take them down the corridor and mess with them all. Then he'd give them back to Dave and Dave would fuck with them even more."

While making the record, The Clash's "Combat Rock" was a studio favourite. The ideal was to follow a similar trajectory as that band, who'd started off "rough and ready" but evolved into something nobody had expected. Similarly, Young wanted to
embrace modernity and what is going on around us in the world." As artists, this meant scrapping songs, remoulding songs, and at one point scrapping a previous version of the album, but it all felt liberating and exciting.

The album has an otherworldly atmosphere and a very postmodern theme of internet/social media-driven connection, but ultimately dislocation.

"That really came to the fore because of conversations I was having with friends," explains Young, who reveals that the title -- was informed by about seeing graffiti written in English, all over the globe. "I love technology, but you can go to a bar in Peru or China or anywhere in the world and everyone's wearing the same shirt and listening to the same music and drinking the same beer.

"Then technology can connect us with whoever we want to be connected to. We have constructed realities, but in the meantime being connected has brought disconnection in lack of friendship and feeling and love. We're the first generation going through this. I was sat at a table the other day and every one of us was on our phones and it felt like we were in the future. There's this clip on 'The Tonight Show' of Bono approaching this woman in the subway and singing 'With Or Without You,' but she wasn't looking at him. She just wanted to capture it on her phone. It's the strangest interaction I've ever seen."

These sort of dystopian themes emerge particularly on songs such as "Minimal Affection" or the funky "Want You So Bad." Songs such as "(All Afternoon) In Love" may particularly throw people who thought they knew what to expect from the Vaccines: it's otherworldly, gossamer, melancholy pop in the mould of 10cc's classic, "I'm Not In Love." "Radio Bikini"'s title had been in Young's diary for some time before he started playing around with combining a song that was ostensibly about the summer, but also about the bombing of Bikini Atoll in Vietnam -- a nod to the Dead Kennedys' punk classic, "Holiday In Cambodia."

These are some of the best songs of the Vaccines' career, none better than "Dream Lover," which nods to the Bobby Darin and Mariah Carey songs with the same title, but allies a hallucinatory atmosphere and lyric about an imaginary partner with a killer riff. Another dreamy monster is "Gimme A Sign," the last song written for the album, which found Young found himself chuckling at the pop hugeness of the chorus, which in a way brought him full circle, back to that day he penned "If You Wanna."

"I remember writing those songs on the first record thinking they were good enough to headline the Barfly with," he chuckles. "Everything we've done and achieved has been so above everything we ever expected, but I do think we're a great band and that 'English Graffiti' is a great record. Good music triumphs in the end. I'm immensely proud of it."
Porcelain Raft
Porcelain Raft
Mauro Remiddi once ran away to join the circus. The circus was in Berlin and Mauro was 21 years old and at the time he was a street musician earning his living in Florence. Traveling with the circus he played accordion and percussion and violin while acrobats flew above the stage and magicians plied their tricks for the crowd.

Soon after this he found himself in North Korea, a visiting musical ambassador for Italy somehow shaking hands with Kim Jong-un in a display of state-orchestrated propaganda, an experience that drastically reconfigured his outlook for the rest of his life. Mauro remembers the astonishment of the people he encountered, none of whom had ever seen a Western face before.

To be a stranger in a strange land has been a recurrent theme across his career.

Born in Rome, his three decades as a journeyman musician have taken him from London to New York and now his new home of Los Angeles. His new EP as Porcelain Raft, Half Awake, was written and recorded in Greenpoint, mixed by Chris Coady at the legendary Sunset Sounds in Los Angeles and mastered by Heba Kadry. Half Awake will be available on Volcanic Field, Remiddi’s own new boutique art label.

Volcanic Field hails a new chapter for Remiddi ‘I felt the need to create a house for all my music and ideas. A sort of archive, a diary of my work in progress, for the sake to tell the story and tell it all.’

It’s about the different way we explore new sounds and how the format influences our perception of it. It’s about how to return to listening to music in a slow, deliberate and appreciative act and how he might prevent his work from being lost in the stream. Where algorithms make our choices for us and the act of accumulating music for its own sake is a compulsion that most of us don’t think about, not realizing our loss of agency in choosing what to pay attention to; to really listen.

Half Awake will be released digitally and physically on cassette. The limited edition cassettes come with a run of linoleum prints, each hand printed in Remiddi’s home studio in LA.

The format choice for this EP comes from a long-held reverence for the sound of cassette tapes. Remiddi made his first music as a teenager on a four track and continues to enjoy the aural textures of the medium, its sound is a comfort of sorts, like a constant.

The songs on Half Awake are about letting go; of places and of expectations. The EP came into being at a juncture when Remiddi relocated from New York to Los Angeles, and explores a compassionate breaking with past selves and the places they’ve lived. Familiar androgynous vocals glide beneath dreamy keyboard washes and infinitely recurring guitars chime above a protagonist who has “Something after me, whatever is after me, I don’t want to touch the ground.”
Very Special Guests Drowners
Very Special Guests Drowners
In the late summer of 2011, Drowners frontman Matthew Hitt found himself in New York City. He’s from a small town in rural Wales but New York is where Hitt feels most at home. “I just like the way things look here. I like the way things are done here. I like how late everything happens,” he says. New York’s signature up-all-night energy courses through Drowners’ self-titled debut, but there’s a sweet melancholy to the album as well.

In his down time, Hitt began writing songs that reflected this renewed interest in angular, compressed rock and roll. “The early songs came out really short – I thought, well, I’ve already sung the chorus twice I don’t need to do it again, that’s what makes it a chorus! I think that being in New York influenced what I was trying to do with economy in song structure and instrumentation. It’s like, here’s what I’m trying to say. Okay, I said it. Now it’s over. Onto the next one.” Gallivanting around downtown, Hitt also met likeminded souls, including future bandmates, Jack Ridley III (guitar, vocals,) Erik Lee Snyder (bass,) and Lakis E. Pavlou (drums).

It would take the better part of the next six months to secure the right record deal, but during that time the band gigged like crazy, ratcheting up their live prowess. They also released a well-received EP, Between Us Girls. By the time Drowners were in a recording studio to record their full-length debut, with producers Gus Oberg and Johnny T., they were ready. The first single off Drowners’ eponymous debut, “Luv, Hold Me Down,” is a propulsive slice of perfect garage pop. “It brings across this sort of jovial misery,” says Hitt, “It’s kind of pop, like a lot of the rest of the record, but lyrically, it’s not as shiny as seems.”

The other side of coin, according to Hitt, comes courtesy of the melodic and melancholy track “A Button on Your Blouse” which changes up the pace of Drowners’ self-professed brand of romantic aggression. “I always think of this one as our ballad even though it’s not even that slow,” says Hitt with a laugh. But it’s the cheeky grime of “Long Hair” that really showcases the easy, dirty thrill of Drowners.

While Hitt is responsible for the elegantly understated lyrics throughout the album – the kind that adhere to his Salinger-esque economy of words – he professes that everything changed as soon as recording began. When Hitt, Ridley, Snyder, and Pavlou began to play, Hitt’s initial blueprint and the band’s extensive punk music background melded, giving the album its true form. The group wanted to present something slightly different, says Hitt. “Our live shows are a lot more aggressive,” he adds, “With the album, we wanted to create like a sort of layered, fleshed out live show.”

The result is an album that’s equal parts playfulness and disquietude, toeing the line between music that sweeps the listener up, and lyrics that beg for their deep sensitivity and understanding. “Whether you think something is good or not is if you respond to it,” says Hitt. “I wanted to illicit a response, but I want them to get whatever they want from it.”
Venue Information:
Webster Hall
125 East 11th Street
New York, NY, 10003