Vampire Weekend - Vampire Weekend
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Free Music Notes for Vampire Weekend
Free Music Review: The perfect weekend...
Hit: 5 Stars
Coffee house `sophistication' meets college rock `nerdy sheik' wrapped up in an atmosphere strait out of independent film goddess Sophia Coppola's wildest dreams; Vampire Weekend as a band is pretty much a dream come true.
My dream come true.
It's funny because I've never really given this breed of indie-rock a chance before a friend (ex-friend) gave me a copy of Vampire Weekend's debut album, and even then I was kind of certain it was going to disappoint and so it sat in my car for nearly a year before I gave it a shot. After I gave it one listen I was hooked and it stayed in my car stereo for quite a while. In fact, this album is one of my favorite albums in any genre. There is only one track is dislike (`One') and only three that don't grab me as some sort of perfection (`Mansard Roof', `Cape Cod' and `Bryn'), but those three are still great songs.
Yes, this album is a complete pleasure.
I'll get my feelings about `One' out of the way. I hate the chorus. I actually like the musical arrangement and the verse structure is fine (albeit a little bland) but that whiny delivery of `Blake's Got A New Face' is just like fingernails on a chalkboard to be. The song just doesn't work for me.
But that's just me.
Now, I really like `Mansard Roof', so when I say that is doesn't strike me as perfection, that is all I mean. I like it, but it isn't perfect. Maybe it's the length, because it album feels like half a song. I do think that it is a great way to open the album because it really lets you know who this band is and what you are in store for. Maybe the fact that it is preceded by the glorious `Oxford Comma' is part of the reason why this song doesn't wow me as much as it does others. I also really like `Cape Cod', although I find the verses to be less engaging than they could have been. The chorus is wonderful though (I love the falsettos, and the slight breakdown during "it feels so unnatural" is a small delight). I like the almost Irish folk sound to the opening of `Bryn'. Outside of that musical interlude (they use it after the choruses are sung as well) is the most interesting part of the song though. I don't really find the rest of the song to be that noteworthy; and like `Mansard Roof', it also feels like half a song. If it had been elaborated on a tad I may enjoy it even more.
Like I said, they are not perfect, but I still like them a lot.
So, now we have the perfection, or, as I should say, the rest of the album. `Oxford Comma' is utterly spellbinding. The musical arrangement is so chill yet it has a soft bounce that engages the listener, and the lyrical content (while explicit in parts) is weaved so magically by Ezra Koenig that it becomes an instrument all it's own. This is the definition of coffee house rock. `A-Punk' has that punk rock vibe (and the vocals have Sublime and the like written all over them) but there is still that chilled atmosphere (the chorus is simply brilliant) that makes this signature Vampire Weekend.
When I mentioned Sophia Coppola in the outset of this review, I was referring to her vision behind `Marie Antoinette', and I recall that film mostly because of the magnificent opening musical arrangement found on `M79'. This song is probably my favorite on the album, for it is so unique, so impressively visionary and just effortlessly captivating. Each and every part of the song is superb.
I love `Campus'. It captures college love beautifully, and it sounds impeccable. I love the different side of the band found on `I Stand Corrected'. There is a real subdued quality here that they play with flawlessly. Sure, they interject energy into the song in stages, but it shows that they understand how to play around within their own comfort zone. `Walcott' is just fun. It opens with high-octane piano keys and then carries on with such a catchy flow.
And I love Cape Cod by the way!
For me, there was no better way to end the album than to insert their own spin on reggae with the infectious (and equally outstanding) `The Kids Don't Stand a Chance'. I say reggae, and before anyone attacks me for that, you can't really deny the influence. Listen to the way he sings this song, as if he were sharing the stage with Bob Marley. Ezra carries this song to new heights, and the lyrical message is poignant and expertly delivered. They are always true to their own sound (thus the expressive musical arrangements) but they broke out of their box with this one.
Applause.
I don't think I can rave this album enough. I love their sophomore album as well, but it is not as good as this one. I could listen to this on repeat for days and days and days (I have and I will).
Free Music Review: An instantly recognizable pop classic
Hit: 5 Stars
The impressive thing about new band Vampire Weekend's debut album is not its consistency or eclectic flavor, but instead its immediacy. Instead of any attitude that this weekend will be a weekend that we will remember for the rest of our lives, or that we will get smashed and do things that can't be erased, this weekend resonates of a straightforward, fun, in the moment attitude. It has been a long time since I have heard an album this shamelessly happy, and a long time since that kind of happiness has not been distracting or aggravating. Part of this might be due to the simple, warm instrumentation. The drums are propelling yet anything but tough. The guitars almost sound hushed. And everything else seems to be produced to be comfortable. That isn't to say that the album is boring, however. Although the aim might be comfort and happiness, the sheer consistency of the album keeps it unique and compelling. To say that the band are smart would be an understatement. This kind of utilization of stringed instruments suggests classical training, and anyone who even knows what an Oxford Comma is can't be a chump. Vampire Weekend seem to have discovered the alchemy to make pop gold. Arpeggiations dot songs beautifully throughout, most notably on the string laden M79, which makes use of hooks from a guitar, string section, and harpsichord (or at least the harpsichord setting of someone's keyboard). This song is not lonely in its appeal. In fact, even a new listener could go through the album and never have any even remote desire to switch songs. The fact that they hold attention while flipping through an ocean of variety is that much more pleasing and impressive. From loud Little Richard esque piano pop (Walcott), to African rhythms over simple chord progressions and pleasing switchups (Cape Cod Kwassa), to glowing Mark Mothersbaugh esque chamber pop (Campus), and to giddy electro fun (Blake's Got a New Face), there is not a corner of this album that feels unnecessary or able to be improved upon. This album gets the highest regards for the simple fact that every song is great, and it will appeal to people who listened to The Beatles in high school as well as people who remember the Rugrats theme song fondly.Free Music Review: Shake Off Your Heavy Ego and Dance!
Hit: 5 Stars
Just when we have resigned to the renewed realization that every infectious pop melody has been used and reused to the point of utter absurdity, there is always that one band that sprouts from nowhere, spices up the rehashed formulas and proves us wrong. In 2008, this band is unquestionably Vampire Weekend. You may know the Webster's general definition of the word "infectious", but I assure you, upon first hearing the ridiculous swing and bounce of "Oxford Comma", the term will suddenly become very specific and incompatible with any other nouns, proper or not. This basic concept applies to the entire album. Exaggeration? Of course, but this little lie tells a truth. Once you hear Vampire Weekend, you will not be able to sit down. Ever wonder what a Baroque string quartet, bred with a good dosage of Reggae and sugary Pop's child would sound like? Listen to "M79". You can almost hear a variation of Vivaldi's "Four Seasons" (harpsichord included!) throughout the entire thing, even when the steel drums start to gently sway your hammock suspended by palm trees over salty sand and shell, bathed in a fiery sunset. There is a reason that Vampire Weekend is showing up in the play lists of radio-heads (as referring to radio-addicted drones, not the band) and music elitists alike. Sure they may not be ultra-complex or even that original, but this album is more fun than anything that I've heard in a rather lengthy period of time. Vampire Weekend is witty without sacrificing conviction, exciting while at the same time pondering, catchy and absolutely intelligent, similar and simultaneously diverse. I suggest you pick up this simple, stunningly upbeat and rabidly addicting, toothy-grin-inducing virus.
Free Music Review: addicting.
Hit: 5 Stars
VAMPIRE WEEKEND
Self-Titled, XL Recordings.
(AKA: the summer record that I'm so NOT OK with you NOT owning!)
You don't have to be a hipster to fall in love with Vampire Weekend. They can make you happy, too!
I first heard about them a few months back when they were on Saturday Night Live. I was like "Who?" then I expected a hardcore something-or-other. I was ready to flip the channel over to MadTV.
Instead, I almost go out of bed and started dancing.
The name is deceiving- no black eye-make-up, no gothic drudgery. The music is more like a redux of Paul Simon's poppy stuff, add in a hint of Bob Marley.
The lyrics seem to have much significance to the writers, but not to us. Usually this style of writing bothers me, but somehow they make it work. It is like a peek into someone's personal diary that they wrote on a Manhattan cross-town bus.
For the faint of ear, there is a bit of harsh language, but it isn't all over the record. There is very little spiritual significance or words of eternal worth. But there are good feelings. It is a silly fun happy record that aches and oozes of summertime in New York City. It deserves to be played at every barbecue and picnic.
Recommendation: Buy the record. Besides the artistic obligation to the independents, it is extremely listenable the whole way through. If you want to sample one track, try downloading "M79".
CAUTION: be careful listening to the record while shopping, or you may find yourself in Urban Outfitters getting properly outfitted with some new chucks and Levi supper-skinny jeans! (And asking the clerk "Do you carry Madras?")
Free Music Review: Headphone Commute Review
Hit: 5 Stars
There is something intriguing and almost unnatural about the fact that I am continuously drawn towards Vampire Weekend. The light-hearted melodies with simple accompaniment of organ, harpsichord, strings, and flute, turn the clock back to the times of invincibility and carefree college days. Vampire Weekend is a four member New York City indie band, that slightly nods towards the afro-pop genre with a hint of ska. The 2/4 percussion, accented with African elements and an occasional conga, bring on that feeling of kwassa kwassa rhythms. Ezra Koenig, Rostam Batmanglij, Chris Tomson and Chris Baio describe their style as "Upper West Side Soweto", with influences from both, Western classical music and Congolese soukous music. After a couple of successful top hit singles on the UK Indie charts, Vampire Weekend got picked up by none other than XL Records. 2008 brought on their debut self titled full length, and by now it may be too late to hail praise to their sound - Spin has already declared them as The Year's Best New Band in March '08 issue. Look, it's been a while since I've written about anything other then instrumental or electronic, and even though I consider my taste pretty wide and open, Vampire Weekend reminds me that there's a whole ocean of untapped genres. Simply put, Vampire Weekend brings back the ease with which The Beatles conquered the world.