A YEAR ago Pete Robertson was doing the usual rounds as a session drummer, convinced he’d reached his childhood rock musician dreams had reached their pinnacle.
Then along came The Vaccines, critical recognition, a top 5 album (What Did You Expect from The Vaccines) and an awful lot of fuss.
“(Radio 1 DJ) Zane Lowe asked us “How did this happen? You survived. We tried to destroy you with our hype and yet you’ve managed to make a great debut album.” Part of us that was like yeah you’re kind of putting us in quite a difficult position with this. But I feel like we’ve overcome it and hopefully proved some people right,” said Pete.
In little under 12 months, the band has gone from non-existence to attracting the world’s attention at SXSW – and they can chart the turning point in their supersonic rise to one night in Camden.
Pete said: “We loved The Flowerpot. It was kind of a landmark for us. We’d done a couple of gigs around the country playing to about 10 people. We were opening to school bands, playing to them and their parents.”
But they were noticed by the music media and a demo was championed by Lowe.
“We got to The Flowerpot and no-one was there. We thought, it’s just one of those shows. We went up to the dressing room, hung out till it was time to go onstage, went downstairs and they were queuing out the door.”
The word was out, the muso crowd had shown up and the likes of Alex Kapranos (Franz Ferdinand) and Nick Hodgson (Kaiser Chiefs) crammed into the former Kentish Town venue to see them.
“It was a very special gig for us. When we were writing and rehearsing even when we were playing our little toilets we still felt like we were doing something, we could connect to people, we just thought it might take a little longer.”
The Vaccines play Electric Ballroom next week (April 7 and 8) and are planning a bit of an experiment.
Said Pete: “We’ve done it once or twice but it’s not really taken on for us – the last track on the album Family Friend turns into a noise fest at the end. We’ve only dabbled with playing that live before it’s so sparse at the top for the first half that it’s right on a knife edge but we will be doing that at the Electric Ballroom.”
Unable to describe his own character, except to say he questions himself regularly, Pete kindly summed up his bandmates: “Justin’s got an incredible mind, an amazing way of thinking, incredibly intelligent and thoughtful. Freddie is in a similar way a bit of a geek. He knows his music inside out, it’s pretty encyclopaedic. He’s got a wicked sense of humour as well. Arni (from Kilburn) is like a typical Scandinavian. I guess he’s quite quiet but when he has odd days he gets very passionate about it.”
Coming up with the band name was difficult he said, adding: “We had a few good names we weren’t allowed to use because they were a bit inflammatory. We did one gig as The Catholics. But we were told it would probably cause a bit of outrage in about half the world. We’re not Catholics. We were Red Indians as well for a while – apparently that’s racist.”
His own music preferences vary dramatically.
Pete said: “I don’t really go in for hero worship. There’s an awful lot of drummers I admire. The drummer who put me on to wanting to play drums, my first inspiration was probably Dave Grohl.
"Nirvana basically changed my life as it did for most kids at that time – that was a proper landmark. Dave Grohl’s drumming is brilliant but I think it was that whole band and that whole ethos they had that was so inspiring to people of that generation.”
He has time for the softer side too: “I don’t believe in guilty pleasures. I find music snobbery like wine snobbery. I’ve been derided for liking one of Taylor Swift’s songs the Romeo and Juliet one – it’s such a good song.”
He believes drumming keeps him fit: “I’ve got quite skinny arms but I think it must be (good exercise) because I’m not fat and I should be, I eat and drink quite a lot. The most impressive muscle I have is in my hand, no-one ever sees it, it’s my thumb muscle. Most drummers if you have really massive biceps it’s because you have bad technique. I don’t get much love for that (thumb).”
They’re due to tour the US with the Arctic Monkeys although they haven’t met yet, and have already devised coping techniques for touring.
Pete said: “We entertain each other by basically taking the piss out of each other to the point that we end up fighting and then fighting for fun and watching fights for fun. We’re in a bit of a pressure cooker at the moment. It gets pretty full on, the gripes are bound to happen. Fortunately we know each other well enough to chill it and then it’s over – no grudges or anything.”
They recently caused a fuss at SXSW, where they caught the ears of the US media, but Pete had a more important mission on his agenda.
He said: “I got my first tattoo. I kind of knew what I wanted but I was still wondering if I was still going to have the guts. I met this guy and he was a tattoo artist and drew me one and I loved it so thought why not drill me with needles repeatedly so I now have a rising sun stamped on my arm forever.
“All the guys came down and I thought they were going to help talk me through a difficult period but they just laughed and drank cocktails. They say it’s addictive. I was halfway through getting it done when I already had an idea for the next one. You never know, by next year I’ll be a painted man.”
Recalling the band’s beginnings, while still a session drummer, he said: “It’s great to be able to make a living doing music but I thought that was it and the dream you have as a kid was fading fast. I realised I needed something more from my music, some creativity and everyone else was kind of in the same boat so when we got together there was a real energy and enthusiasm. It felt like we were escaping and it was really great. The first rehearsal we had together you could kind of feel something there.
“We’re all fans of depth and meaning through simplicity. Listening to I guess brave music – stuff that’s laying the character and soul completely bare for everyone to see. “
And for now, life looks rosy for The Vaccines.
Pete said: “I’ve never been busier in life but it doesn’t really feel like work it’s something we want to do. It’s all really exciting and fun. I’ve yet to experience getting bored with playing music. I’m sure it happens but I can’t imagine what that would feel like.
“It doesn’t feel like a rush, it’s been quite a steady and natural progression. There are odd moments when you kind of pinch yourself but the majority you just kind of get on with it and enjoy the moment.”
Showing posts with label Arctic Monkeys. Show all posts
Showing posts with label Arctic Monkeys. Show all posts
Thursday, 31 March 2011
Sunday, 31 January 2010
DEAD LIKE HARRY - How to make an album without spending a cent
DEAD LIKE HARRY

DEAD Like Harry have serenaded a stranger's girlfriend, played to nothing but the sea when the ill-timed tide came in too fast and will soon hit Camden's most celebrated bowling alley.
Named after an eccentric uncle, the Sheffield six-piece, who place themselves somewhere between Fleetwood Mac and Bruce Springsteen, play Bloomsbury Lanes on February 25.
But the real story is how they managed to cut their debut album Know The Joy of Good Living (released Feb 15) without spending a cent.
Vocalist Sam Taylor, whose brother Matt is also in the band, said: "Without the backing of a major label it's hard to finance a professional album. It wasn't like we could do it in our rooms, we needed that big sound."
They approached Alan Smythe, who produced Arctic Monkeys, Reverend and the Makers, Richard Hawley and Pulp, and made him an offer he couldn't refuse.
"We asked him for a bit of a deal. We knew he wanted a new studio but also knew he was low on finance. We proposed the six of us would work for free and we'd get an album made at the end of it. For three months we lifted plaster board and made new walls in an old factory space and at the end of that we recorded our album. Alan put his heart and soul into it."
The end product is something to be beheld: "It's as vinyl as you can get. We were listening to classic albums and I just got obsessed with making a record sleeve. I talked to designers and came up with even the crinkly paper when you take the CD out. When you put the record on you think you're going to be listening to something which has that earthy feel. Nearly everybody listens to music on their i-pods and you have to accept that but some people want a souvenir or something tactile you can pass to your friends."
He describes the band's sound as being "rooted in traditional genres, blues, rock and coloured by a pop sentiment", adding: "It has the pop sensibilities like Fleetwood Mac meets the anthemic ideas of Bruce Springsteen or something like that - Born to Run mixed with something a lot more subtle, I'm not quite sure what."
Their moniker is in tribute to lead guitarist John Redgrave's great uncle, after he neglected to tell his mother Harry had died for some weeks.
"Harry was an eccentric, the crazy uncle who walked down the stairs at 7am picked up the whisky bottle and sat down with a cigar, the sort of guy who asked me and John when we were about 12 to go to off-licence for him, not realising the crazy thing he was asking us. Harry passed away and the message wasn't passed on. It's in tribute to the fact that the way Harry ended was similar to the way he lived - wild and
quite chaotic."
They decided to play Bloomsbury Lanes on recommendation from Jamie from Goldheart Assembly, who was full of compliments about the place, only adding to the eclectic venues they've played so far.
"In Chester a guy asked if we could play for his girlfriend. He gave me £20 and said he really wanted me to play next to the canal. It was a bit weird him watching me play his girlfriend a song along the canal."
Then at the Beached Festival in Scarborough, they soon realised their crowd had disappeared: "We were onstage as the tide was crawling in but increasing quite fast and so there was nobody stood in front of us for a while. We were just playing to the sea, to the lapping waves against the stage. I think they timed it a bit wrong. A nice moon, in the middle of the bay."

DEAD Like Harry have serenaded a stranger's girlfriend, played to nothing but the sea when the ill-timed tide came in too fast and will soon hit Camden's most celebrated bowling alley.
Named after an eccentric uncle, the Sheffield six-piece, who place themselves somewhere between Fleetwood Mac and Bruce Springsteen, play Bloomsbury Lanes on February 25.
But the real story is how they managed to cut their debut album Know The Joy of Good Living (released Feb 15) without spending a cent.
Vocalist Sam Taylor, whose brother Matt is also in the band, said: "Without the backing of a major label it's hard to finance a professional album. It wasn't like we could do it in our rooms, we needed that big sound."
They approached Alan Smythe, who produced Arctic Monkeys, Reverend and the Makers, Richard Hawley and Pulp, and made him an offer he couldn't refuse.
"We asked him for a bit of a deal. We knew he wanted a new studio but also knew he was low on finance. We proposed the six of us would work for free and we'd get an album made at the end of it. For three months we lifted plaster board and made new walls in an old factory space and at the end of that we recorded our album. Alan put his heart and soul into it."
The end product is something to be beheld: "It's as vinyl as you can get. We were listening to classic albums and I just got obsessed with making a record sleeve. I talked to designers and came up with even the crinkly paper when you take the CD out. When you put the record on you think you're going to be listening to something which has that earthy feel. Nearly everybody listens to music on their i-pods and you have to accept that but some people want a souvenir or something tactile you can pass to your friends."
He describes the band's sound as being "rooted in traditional genres, blues, rock and coloured by a pop sentiment", adding: "It has the pop sensibilities like Fleetwood Mac meets the anthemic ideas of Bruce Springsteen or something like that - Born to Run mixed with something a lot more subtle, I'm not quite sure what."
Their moniker is in tribute to lead guitarist John Redgrave's great uncle, after he neglected to tell his mother Harry had died for some weeks.
"Harry was an eccentric, the crazy uncle who walked down the stairs at 7am picked up the whisky bottle and sat down with a cigar, the sort of guy who asked me and John when we were about 12 to go to off-licence for him, not realising the crazy thing he was asking us. Harry passed away and the message wasn't passed on. It's in tribute to the fact that the way Harry ended was similar to the way he lived - wild and
quite chaotic."
They decided to play Bloomsbury Lanes on recommendation from Jamie from Goldheart Assembly, who was full of compliments about the place, only adding to the eclectic venues they've played so far.
"In Chester a guy asked if we could play for his girlfriend. He gave me £20 and said he really wanted me to play next to the canal. It was a bit weird him watching me play his girlfriend a song along the canal."
Then at the Beached Festival in Scarborough, they soon realised their crowd had disappeared: "We were onstage as the tide was crawling in but increasing quite fast and so there was nobody stood in front of us for a while. We were just playing to the sea, to the lapping waves against the stage. I think they timed it a bit wrong. A nice moon, in the middle of the bay."
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