The Vaccines- Come of Age (03/09/2012- Sony/Columbia Records)

     English Indie band The Vaccines, were formed in 2010 in West London and released their debut record ‘What Did You Expect from the Vaccines’ just last March. It peaked at number 4 in the UK Album Chart and spawned seven of the eleven track album as singles, including ‘Nørgaard’, ‘If You Wanna’, ‘Wetsuit’ and ‘Wreckin' Bar (Ra Ra Ra)’. The band have been compared to the likes of The Ramones and The Strokes, despite their fist-pumping Indie-Pop style.

    Having already peaked at number 1 in the UK Album Chart, has already awarded The Vaccines with fantastic commercial success. ‘No Hope’ is as festival-perfect as ‘Nørgaard’,and as Indie as ever, if a little dreary and half-hearted. Justin Young’s vocals also come across as drab and lazy, and ‘I Always Knew’ shows very little progression over the last year, and the band’s unfortunate complacence. They appear to have done the bare minimum with regards to varying their flair and the tracks are repetitive, but as catchy as eczema.

Artwork: 'Come of Age'

    ‘Teenage Icon’ is more produced than other tracks however, proving that The Vaccines care more for success through singles than the album itself, or the music they actually create. ‘All in Vein’ conveys a hint of Surf Rock, but tedious and underdeveloped lyrics; ‘You can’t hold a gun to my head/ ‘cause baby I would just refuse.’ (Surely that goes without saying in a relationship?) ‘Ghost Town’, certainly does what it says on the tin to begin with, with a gloomy intro and lifeless melody, and when played live, it’s about as energetic as road kill. The best thing about it is that it’s barely two tedious minutes long!

   Yet another lacklustre track, ‘Aftershave Ocean’ is begging for a response as to why the band refused to take more time to develop musically, and as people between albums. ‘Weirdo’ is very monotonous and Justin Young’s vocals are simply not strong enough to carry such a simply produced song. Out of the darkness of a dry, lifeless heap of tracks come ‘Bad Mood’, ‘Change of Heart Pt. 2’ and ‘I Wish I was a Girl,’ which still make use of classic Indie influences like the rest of the tracks, but less in the style of The Strokes and more of a Foo Fighters flair. It still lacks charm lyrically, but the instrumentation is, particularly the guitaring.

The Vaccines

    The track design of ‘Come of Age’ is appalling; soaring from some great Indie-pop singles, to mind-numbing compositions, and right back to bright and bubbly songs towards the end. Very little production-effort has been put into the five tracks that make up the middle of the album, which really lets it down. Along with weak vocals, mostly drab melodies and just one emotion-based track ‘Lonely World’,(which, in itself is excessively instrumental) ‘Come of Age’ is definitely nothing to write home about!

2/5

Two Door Cinema Club- Beacon (31/08/2012- Kitsuné)

     Formed just five years ago, Northern Irish trio Two Door Cinema Club have enjoyed vast success over the last few years with their debut album ‘Tourist History’, which was released in 2010. Singles from the upbeat Indie band’s debut did incredibly well, and the single from ‘Beacon’ ‘Sleep Alone’ has already peaked at 64 in UK charts.  

   With their less pop based, more chirpy, dance-worthy Indie tracks ‘Beacon’ reflects a new found confidence from the band with their own style. They know how commercially successful their last record was, and want to give their fans something new. ‘Next Year’ is a spectacular opener to another great album, telling a story of the hardship of loneliness when on tour. The experimental cocktail of electronic sounds in ‘Handshake’ is bursting with energy and instrumentals, and as radio and advert or jingle friendly as their previous work. It is fundamentally a harsh love letter, which shows a jump from ‘Tourist History’s’ classroom-whisper based lyrics.  

'Beacon's' Artwork

   Two Door Cinema Club have managed to pin-point the exact balance between being commercial, faithful to fans and unique, and ‘Wake Up’ is no different. It is as catchy as anything you’d expect from the trio and illustrates the fantastic work of Irish producer Garret ‘Jacknife’ Lee, who has previously worked with U2, R.E.M., Snow Patrol and Editors. ‘Sun’ makes use of some brass; clearly an influence from a great producer and mixer.

    The rhythmic, polished and gig-perfect ‘Someday’ is quirky and explosive, but lacks emotion lyrically. ‘Sleep Alone’ perfectly overlaps different tempos and rhythms and is a textbook Indie single in the best way possible. With its seamless and epic backbeats and acapella sections, Two Door Cinema Club’s progression is unavoidable. ‘The World is Watching’ utilises old-school style harmonies used by the likes of The Beach Boys, all wrapped together with the input of unspoiled female vocals from Valentina. String-based segments add a new dynamic twist into the mix, especially when conjoined to high pitched electronic sounds.

Two Door Cinema Club at NME magazine this month.

     The constant mood and rhythm change in ‘Settle’ and ‘Spring’ both portray a more sophisticated and mature style, and ‘Pyramid’ is driven by the most beautiful, dancey back beat. Title track ‘Beacon’ begins with thumping bass, not dissimilar from The Vaccines’ ‘A Lack of Understanding’, but it quickly evolves into a gentle, echoing Indie song with adaptable and emotional lyrics; ‘Standing right in front of you is where I need to be’.

    Although it can be a little repetitive at times, ‘Beacon’ smashes the stereotype of second albums being difficult to compose due to an overload of pressure from fans. But Two Door Cinema Club have retained their ridiculously catchy beats, great electronic riffs and crisp, well produced tracks.

4/5

Maroon 5- Overexposed (26/06/2012 A&M/Octone Records)

     Overexposed is the fourth studio album of Los Angeles based Funk Rock band Maroon 5. After the phenomenal commercial success of single ‘Moves like Jagger’, which peaked at number 2 in the UK Singles Chart and number 1 in the US, expectations are high for the success to transfer to Overexposed.

    The band describes the album as their poppiest record to date since their debut a decade ago with ‘Harder to Breathe’. Adam Levine’s distinct vocals burst into play on ‘One More Night’ that propels the pop basis of the record into action. With strong  Reggae Pop influences and Adam Levine’s taste of solo limelight as a judge on NBC’s ‘The Voice’ has sparked many a rumour of the band splitting, and this album may be a taster of what we can expect in the future.

Artwork

    Released on the 17^th of April, as the lead single from Overexposed, ‘Payphone’, featuring rapper Wiz Khalifa peaked at number 1 in the UK charts and is an upbeat track of relationship loss. It also brings Maroon 5’s Rock roots back into play. Its lyrics of pain and regret; ‘If happy ever after did exist, I wish to be holding you like this…’ are relatable yet commercial, and has been labelled the new ‘She Will Be Loved’. I don’t know about that, but it is certainly emotion fuelled.

     Ever wondered what a sentimental Black Eyed Peas song sounds like? ‘Daylight’ is the answer! It retains the personal lyrics that band Rock fans adore as well as the trendy back beats of great Pop songs. The bittersweet track was co-produced by Levine himself and depicts influences from the likes of Coldplay’s frontman and lead vocalist Chris Martin. ‘Lucky Strike’ reverts back to Maroon 5’s collective origins but also illustrates the inputs of Pop producers Max Martin and Benny Blanco with its upbeat, if a little fragmented and repetitive.

    The Man Who Never Lied is so rapid it comes across as rushed and overly compressed, and Love Somebody is somewhat overproduced which takes away from Adam Levine’s striking vocals. In tracks like this, it’s difficult to tell if the rest of the band is involved at all, and what has been formed is hardly spectacular. It is as if Maroon 5 enjoyed the commercial success of ‘Moves like Jagger’ so much that they’re doing anything they can to recapture it throughout Overexposed.

Maroon 5

    With its Michael Jackson style, ‘Ladykiller’ also boasts a guitar solo of sort. But there is nothing organic about this track in the slightest. And ‘Fortune Teller’ is no better as it harnesses Maroon 5’s flair with the likes of Britney Spears of Rihanna, which, unsurprinsgly, doesn’t merge well. Although ‘Sad’ brings Maroon 5 fans the lyrical talent they expect from the band, it still comes across as a solo track, despite its sense of passion. Many Maroon 5 fans also adore the blend of Pop, Rock and Funk, as well as sexual frustration, difficult relationships and break-ups that the band do so well, which comes alive in ‘Tickets’ and somewhat in ‘Doin’ Dirt’.

     The feeling and sensitivity injected into ‘Beautiful Goodbye’ brings a sense of relief to the Pop rollercoaster that most of Overexposed is made up of, that is, before ‘Moves Like Jagger ’ featuring Christina Aguilera appears as the final track on the record. However, it is full of Funk and vigour, and ridiculously joyful.

   Overall, the album is hit-seeking but doesn’t quite nail the criteria of successful Pop music, or the Rock/Funk field Maroon 5 are famous for.

3/5