The Vaccines’ Freddie Cowan to collaborate with Horrors’ brother Tom

Guitarist also reckons pop music is at a 'really awful point'

The Vaccines guitarist Freddie Cowan has revealed plans to work with his brother Tom, who plays keyboards in The Horrors.

Cowan said he was planning to record a track with his sibling, explaining that each member of The Vaccines will be individually recording a B-side for their new album’s four singles.

When asked about the prospect of collaborating with his brother, he said: “There’s a concept of all four singles and every member of the band has to write and record their own B-side. Well, I’m probably going to do mine with my brother. I asked him to produce and he’s really up for doing it. I don’t know if we’d collaborate on stage because we’ve done it already, but it’d be nice to do a collaboration with someone.”

The guitarist, whose band release their new album ‘The Vaccines Come Of Age’ on September 3, added that he believed “guitar music has always been in danger”, but that pop music was in a very sorry state.

Asked by Clash Magazine if he thought guitar music was in danger, Cowan said: “It’s always been in danger, for much longer than we think. There was Britpop and the Beatles and the Stones, but guitar music has always been the underdog. Led Zeppelin were huge but they were an underdog.”

He continued: “There just happens to be a certain emotional resonance with guitar music that means it’s there to stay. People remember guitar music, people remember guitar bands. If you look at a festival, no one is going to see Jessie J headline a festival. Festivals just prove how many people and how important rock ‘n’ roll is to people. I do think pop music has declined to a kind of really awful point. I love pop music, but it’s been degraded to such a low point where the hooks aren’t even words anymore, they’re just noises.”

Earlier this month (July 19), The Vaccines unveiled their new single ‘Teenage Icon’ and its accompanying music video. Scroll down to watch it, and you can also read NME‘s review of the track now at NME.COM.