BY MICHAEL GOODPASTER
It’s time again to expand my musical lexicon. About once a month I’ll take a few hours out of my life to fully take in a band’s work. The bands I go with are ones that I’ve never listened to or given a chance to before. I’ll hear about a band, read tons of hype about a band, or even sometimes only hear a single or two. These bands still manage to stick around and get tons of respect and love. I’ve had the pleasure of giving in and listening to awesome bands like Simon and Garfunkel, The Smiths, Regina Spektor, and others. The experience of listening to a band from studio album to studio album is a fun process. Sometimes it’s not though. Sometimes I’ll run into a band that just sucks the life out of me and makes me miserable for four hours straight. I’m not sure if you’d call me a complete-ist or a masochist. Either way, I’m sharing my first impressions…
Why Vampire Weekend?
Why not Vampire Weekend? I’ve heard nothing but good things about them. Even the most popular bands will get a negative backlash from at least one part of the music listening audience. Either that or I’m sheltered to the Vampire Weekend haters out there. They’re just a band I’ve not sat down with. I’m sure I’ve heard a single or two and have seen them perform on a talk show or an SNL episode. Nothing specific stuck out in my brain. That could be good or bad though. It really comes down to nothing stood out because nothing was bad or nothing stood out because nothing was interesting. I’m going to be optimistic that I just missed the boat. Judging on the small impression they’ve left, their fan base, the websites that praise them, and their “style” I can already judge a book by its cover. I don’t think I’m too far off to expect some stripped down laid back “indie” rock. They have three studio albums in their somewhat short run so far and that’s what I’ll be listening to today.
Vampire Weekend
(2008 – 35 minutes) - The album starts with a pretty fun track. "Mansard Roof" is way more pleasant than I imagined anything would be. It’s a nice poppy rock groove with an almost drunken surfer-like swagger. I remember seeing them on The Daily Show and Jon Stewart was making references to "Oxford Comma". I, for one, am a fan of the oxford comma. I think it adds class and organization to a sentence. Oddly enough, I haven’t heard the song before. It’s good. It’s another up tempo foot tapper with some killer synth work in it. I’m pretty sure I’ll catch myself humming this song later. "A-Punk" sounds familiar. The melody has an awesome swing to it that when it breaks down into the cool groove parts. I’m hearing the appeal of these guys pretty quickly. "Cape Cod Kwassa Kwassa" has a looping guitar and bass line that builds up. The drums and the light hearted bounce to it really remind me of Simon and Garfunkel. You don’t get to say that very often these days. At first I’m thinking "M79" sounds like the rest of the album so far, but it takes things in a totally different direction. The stutter jab of a melody mixed in with some beautiful musicianship makes for a really interesting and re-listenable song. There is a low key deep base that takes us through the start of "Campus". Then it breaks down. The chorus of vocals really works for this song. The narrative is fun. It’s a good love and heart break song from a perspective that I’m sure is relatable to a lot of people. Even if not, it paints the picture well. "Bryn" has a more spacey sound to it. It soars through and has a trippy throw back vibe to it. The melody is contagious and it melts right into the rest of the song. "One" starts off really funky and snazzy. It sounds like an 1980’s keyboard got loose. There is a lot going on in this song. It’s really a melting pot of different layers and different styles coming together harmoniously in something that sounds like Paul Simon hung out with Brian Wilson. "Walcott" kicks right in with some blaring piano loops. It breaks and the groove and vocals tell us how it is. Then bam, the piano kicks back in for a full force of audio pleasure. The violins break in like a beast on this song. I would hope this was one of this singles because I can’t imagine it not being a crowd favorite. The album closes up with some bad ass bass plucks in "The Kids Don't Stand a Chance". The vocals wail in and have to check if it’s a Sting cover. I want to mock it. I really do. It sounds too “happy” and “poppy”, but shit. It’s not. It’s a great song. The more melodic and softer vocals and beautiful sting playing towards the end is a great closer. I really enjoyed this album. I expected something more, I don’t know, “dry”. I was thinking I’d be in for something more in the lines of a Modest Mouse or more so The Shins. Instead I got something that was fresh, new, and a throwback more in the lines of a Paul Simon or even afro-electro-pop-rock of a band like The Police. While you can clearly point their call backs out, it doesn’t feel forced. It feels like you’re in for new experience with musical ingredients we’re not that often given these days. I can really see the appeal off the bat. I can also see them becoming tired and repetitive if they don’t evolve going forward. Regardless I’m both optimistic and interested moving onto their sophomore release.
"Mansard Roof"
"A-Punk"
"Oxford Comma"
"Cape Cod Kwassa Kwassa"
Contra
(2010 – 37 minutes) - The band’s second album starts off with "Horchata". It starts off soft and quaint enough and then builds into something that you think might be a dance song. It’s not. It’s a full electronic pulse to accompany a wall of music. I know it’s weird to say a “full wall of music”, but it just sounds like you’re getting your senses worth when you get to hear all of these layers come together to form a well-orchestrated sound. "White Sky" starts off with a spritz of electronics as the vocals bounce right in and take us on a little story. All is good until the weird crooning-yodeling vocals kick in. It’s not so much that it’s bad; it’s just startling the first time it pops up. It reminds me of the old singer ‘Tiny Tim’ or the soundtrack to the classic movie “Suburban Commando”. I don’t know why I feel that way, but I remember a lot of music like this on it. I do like it though! I’m 100% certain that I’ve heard "Holiday". I had no idea this was a Vampire Weekend song. I’m pretty sure I know it because of a commercial, but who knows. I just know it. It’s a fun and simple bouncy song that seems like it’s just a good and easy song to use for a promo. But it’s not. The song has much more going on. When it breaks down we get more of the cool chorus vocals that adds a darker, more grounded, tone to the song. I had to check my play speed on "California English". It sounds like a softly sung crooner of a song that’s sped up about double its original speed. It’s an interesting song, but I don’t know if it’d be one I’d look forward to hearing again anytime soon. "Taxi Cab" has a really sleek opening that makes me think about Paul Simon or even a U2 song the way the bass dominates the almost lullaby melody. I think it’s my favorite song on the album so far and maybe overall. "Run" has another “epic building start” as well. It doesn’t go as awesomely as the last song, but I don’t dislike it. It breaks down into what sounds like a well-orchestrated Spanish horn section. The breaky guitars that open up "Cousins" rock and the panicky noise and hard drums make it seem like it’s imperative you hear the song. It all warps into a cool ass surf-session rock out. The way it warps around itself, it’s seriously one of the coolest songs I’ve heard on either album so far. The penetrating loops on "Giving Up the Gun" remind me of an good 1980’s dance song. It builds up this way, but it goes in a different-more subdued area. It doesn’t change-up too much. If it did, I think we’d miss the lyrics and narrative. I want to say I’ve heard "Diplomat's Son", but I can’t pin point if I have for sure. The melody and vocal delivery is really familiar. If anything this song had to be a pretty big single for them. The synth loop drags you in for the six minutes of fun. I found myself just listening and absorbing it. This song proves they should consider putting out songs longer than their 3ish minute average they have going on so far. The weird choppy break down is cool. It makes you feel like you’re on the same tranquilizer that Will Ferrell got shot with in “Old School”. Then it blast back into the fun. It’s a cool change up and the longer song lets it all linger just long enough to make an impact. It was easily one of the better so far. We close this album out with "I Think Ur a Contra". It’s a slow burning drift that is pulled through by beautiful vocals that soars through and within the very delicate sounding melody of keys and atmosphere. I really like the fade out choice of this one. This was a fun listen, that’s for sure. One thing I really notice on this album is the importance of the lyrics. Too many bands bury the vocals or try to do something weird with the singing. I don’t care how “well written” the lyrics are, if you can’t hear them and absorb them they might as well be growls or animal noises. Vampire Weekend puts the vocals and lyrics right there for you to process and experience. I think that’s a big difference they have in their favor against many bands these days. I’m REALLY seeing the appeal now. I’m not completely sold yet, but the first two albums have been really good. How good? I’m honestly not sure. Definitely good and definitely enjoyable though. I’m really interested to see where this most recent album goes.
"Cousins"
"Giving Up the Gun"
"Holiday"
Modern Vampires of the City
(2013 – 43 minutes) - The band’s third studio album and most recent release starts off with "Obvious Bicycle". It’s a slower Paul Simon sounding loose-tie ballad. It slowly builds up, but it doesn’t need to. The lyrics, stripped down music, and steady vibe makes it a really easy song to get lost inside of. Pretty damn interesting opener. "Unbelievers" is a song that I’m pretty sure I’ve heard before. I’m fairly certain it was performed on a show I caught. It’s a nifty rock song that you can’t help but tap your foot along to. It’s got a catchy melody and the way the chorus is sung makes it one of those things that’ll get stuck in someone’s head. I’d think you’d want that when you’re making a song. "Step" doesn’t sound like anything else. It’s a slower melodic trip that bounces right into the vocals. The vocals have a bounce to them as well. This all works together really nicely. This is one of the band’s better tracks for sure. That says a lot at this point. I know for sure I’ve heard "Diane Young" too. I’m pretty sure I caught it on SNL a while back. It’s a fun song for sure. It’s an up-tempo tune that has a really insane warped out breakdown. You don’t hear stuff like THAT every day. In what could have been a horrible misfire, the chance taken on the vocal delivery pays off ten-fold. This has to be one of the band’s most entertaining and “groovable” songs. There is a chillaxed tempo going on in "Don't Lie". It’s a wandering melody, but the soft vocals tell a story that makes it hard to tune out. I wanted to ramble more about this one because it’s just a really well written track. I couldn’t figure out the right words. It’s just a song full of “spirit” and presence. It could and should be a single. "Hannah Hunt" is a sleek harmony that is hard not to get into it. It’s a down-tempo tune that just simmers the soul to the point where you can’t help but feel at least “emotionally sore”. Classy strings crack open "Everlasting Arms" and it’s soon joined by a plucky bass line and afro-beat stuff that sounds like Paul Simon again. The opening drums of "Finger Back" got me excited that it was going to be a cover of U2’s “New Year’s Day”. I’m sure that would be unfashionable in today’s snark landscape. It’s not though. Instead it’s a fun up tempo dancer. The key break down about a minute and a half in is majestic shit that I wish was extended, featured, and given in a bigger dose. Really cool sound. The song loses its coolness when we’re forced to hear some spoken word hipster banter. I could have done without that. "Worship You" has a back tempo to it that makes me feel like I’m in the middle of a really artsy horse chase. Then the vocals snap into an almost-yodel style. It’s just rapid style deliver that you wouldn’t expect. It turned out to be pretty cool and a fine addition to one of the bands most “different” songs. It sounds like "Ya Hey" is going to be the mass favorite from the album. I can see the appeal. It’s an epic tune that slowly builds up with what I can comfortably call “stern finger snapping” music. Take the description and let your imagination run with. The darkest and gloomiest song so far is "Hudson". The soaring loops and atmosphere gives it a haunting vibe. The vocals come at us like a falling feather and just spiral through the really dominating and eerie music. I like it a lot. It’s put together really well. The album closes out with "Young Lion". It’s a piano outro that just floats. The beauty in it is the harmonious chorus-style vocals. Fantastic closer. This album is less “flashy” and “in your face” as the other stuff. It’s a bit more distant and organic. It’s not their most “poppy” album, but as a whole it’s the best complete album of the bunch. It’s wall to wall delicate art for the delicate ears. The tone is slightly “darker”, but it’s gotten progressively darker each time out. I think the better word than “dark” would be “matured”. It’s the balance they’re pulling off from doing the indie surf rock stuff while still putting out something completely them. If it works, it works. This album works. I’ve not listened to a whole lot of albums in 2013, but this one is the best so far.
"Diane Young"
"Step"
THE VERDICT
(2008 – ) - Vampire Weekend is not the band I thought I’d be listening to. I expected something more draining like The Shins at worse or some really good indie rock. The people I know who are fans of this band typically like a lot of the same crap so I unfairly lumped them into the same shitfest. Vampire Weekend is doing something no one else is doing. Their afro-beat, surf-punk, electro-rock, and epic compositions are all them. They bring some obviously influences to the table in bands like The Police and Simon and Garfunkel. Those aren’t bands to sleep on. Neither is Vampire Weekend. If you’re like me and had no frame of reference then you’ll be in for a good surprise. I don’t think this is my kind of music in general. I can appreciate it, dance to it, sing a long, and tell people to give it a shot but I’d be dishonest if I said I’d be relaying these albums anytime too soon. In the future yes, but I just wasn’t blown too much away. Really awesome stuff though.
What is YOUR favorite Vampire Weekend album?
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