The Vaccines’ guitarist goes it alone on his first album.

My bedroom walls used to be ladened with band posters of all sorts — however, as I’ve grown up, I’ve come to appreciate my mum’s distaste for Blu-tac and framed some of my more precious memorabilia instead. One poster still remains, and that is The Vaccines’ promo poster for Combat Sports that I blagged for a pound in Brighton.

Of course, Freddie Cowan is no longer the band’s guitarist, but much rather a solo artist (or part of a supergroup, depending on how you see it). And — if his debut album is anything to go by — a damn good one at that.

There’s a certain rush about going into something blind (see also: Cineworld’s Secret Screenings) and not knowing what you’re in for. I’ve known and loved The Vaccines for a while now and, even as my music taste has developed, they’ve stayed a constant.

This is nothing like The Vaccines; I’m not entirely sure why I thought it might be a Vaccines 2.0. This is experimental, as far as indie or alternative music goes; this is breaking out of a mould from years and years of being one part of a whole group of ideas.

We start off the album with the titular track; a simple, fuzzy instrumental preparing you for the journey to come and leaving you confused because this is already the complete opposite of what you expected.

Leading smoothly into the interestingly-titled Ibiza Unicorn, Freddie flexes his talent for lyricism and his ability to layer sonic textures upon one another like they were meant to be; lacing gentle female backing vocals with oozing, springy guitar.

There’s a lot to expect from Self Pity City — not because it’s got a fantastic title, but because it’s the first single to be released under the pseudonym Freddie And The Scenarios, so was the first domino to be knocked over in this new musical venture. With a psychedelic sound and smooth, often Alex-Turner-in-The-Last-Shadow-Puppets-esque vocals, this track is a perfect look into what we’ll get more of on the rest of the LP.

Moving swiftly into Begin Again, the echoey vocals transport you into a dark room with nothing but Freddie Cowan’s voice bouncing off the walls. Standing at six minutes long, the track gives Freddie the freedom to reconnect with his beloved guitar, alongside brass instruments and a pounding drum beat, creating a sound that, if you close your eyes hard enough, you might just be able to imagine you’re inside the bass drum in that White Stripes’ music video for Seven Nation Army.

Sensai starts off with riveting, quick-paced guitar that would make even the quickest guitarist drop a bead of sweat, before being joined by the joyous sound of drums; slowing to a stop and then riling back up again. This is a band member let loose; allowed to do whatever he wants; and be in charge of everything. This is Freddie And The Scenarios — not Freddie from The Vaccines. This is a world away from that charming sound we’re used to; this is someone enjoying themselves and pushing their own boundaries.

The next track, Above All, introduces vocals back into the mix, throwing in an eloquent harmony and slowing the pace down after the riotous sounds we’ve heard so far. Climbing carries on that soft, gentle sound, making the album feel as if it is an amalgamation of everything you could wish for in your playlist.

John Wayne, funnily enough, isn’t an ode to the actor, but more so a steady, well-paced track that helps to balance the album in terms of a perfect mixture of sounds. If I was a baby, then this would be my lullaby.

I want to love the next track, Love Will Set You Free, because any song about love should at least make you feel something. With its similar earnest harmonies and general message, how can you not love a song that speaks the truth and is funky to boot?

Sonic Bloom feels like a fitting third from last song; the beginning vocals are like a choir singing you out of the Sunday Church service. Not before long, the track unveils itself as another voluptuous offering and complements the sounds that have come before with ease, unwinding itself with another guitar solo that would please even the snobbiest of music snobs.

Sadly not the new theme song for the TV show, Tipping Point starts off sounding almost underwater before Freddie turns to talking over a swinging, shaking beat that has the very-welcome female vocals we’ve heard throughout the album.

Bowing out with Message Machine, Freddie completes the album by rounding off with a psych-pop sound that ties to the first track eerily perfectly, making this album one to get lost in.

The Scenarios are The Vaccines’ original drummer Pete Robertson, The Vaccines’ keyboardist Tim Lanham, Laura Marling’s bassist Nick Pini, Japanese guitarist Tomoyasu Hotei and producer Ethan Johns on percussions. It’s safe to say it’s a full house.

Answer Machine is out now via Ivy RecRods.