The Vaccines’ latest album, ‘English Graffiti’ sees the band tear up the plans and see what happens as they fall around them. Whilst elements of the old Vaccines’ sound remain – certainly in the pop rushes of ‘Handsome’, ‘20/20’ and ‘Radio Bikini’, an eclectic and adventurous musical mix that acknowledges Eighties pop has emerged.

“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?”

While making the record, The Clash’s ‘Combat Rock’ was a studio favourite. The idea of a band who’d started off “rough and ready” but evolved into something nobody had expected was inspiring to The Vaccines – and similarly, Young wanted to embrace modernity and change:

“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.”

As well as modernity, dystopian themes emerge throughout the album, particularly on songs such as ‘Minimal Affection’ and ‘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; conveying otherworldly, gossamer, melancholy pop. Yong notes;

“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.”

'English Graffiti' is the band's third album and has been released on Columbia Records.