Modern Vampires of the City, Vampire Weekend’s third album since 2008’s self-titled debut, does for the band what Kid A did for Radiohead: pulls us in by the gut and shows us what the band is really made of. This album isn’t a step in the right direction for these New Yorkian rich kids; it’s a giant leap.
Gone is the unfocused, fill-happy snare, the cheap-sounding harpsichord on every track and the dinky riffs that are only catchy inasmuch as they are drilled into your brain from repetition.
Poison ivy-league banter excused as song lyrics (what the fuck is ‘horchata’?) has evolved into something more mature and down-to-earth, covering topics such as mortality and growing up. “The gloves are off, the wisdom teeth are out,” sings Koenig in Vampire Weekend’s single, “Step”, which is quickly becoming the hipster anthem of the year.
The album is still in-arguably Vampire Weekend-sounding. Ezra Koenig’s voice weaves itself through each track and ties the album together with its familiar sweet, hushed tone.
The afro-beat, the wordiness, the heavy reliance on well-written melodic changes, which was a strength in their debut but a mess in their second album, “Contra” in 2010, comes exploding back in “Modern Vampires” but with a vengeance.
It sounds like the boys are finding their sound, and have whittled away all the crap to produce pure quality. It’s like the baby-carrot of the Vampire Weekend discography minus the carcinogenic bleach.
What’s so different about it? A couple things. For one, the band has become familiar with the humbling sound of pure, un-synthesized piano. A Vampire Weekend first, apparently, the effect of the instrument on their music is evident.
In the opening track, “Obvious Bicycle”, the piano lays down the foundation for the melody, while sweet and sweeping vocals, which are choral at the climax, sit gently over top and ride the tune out. They sound less like cool kids tinkering around on expensive synths and more like sophisticated Columbia grads, whatever that means. The sound is much more grounded. Another highlight utilizing this new discovery is “Hannah Hunt”, a gem of a tune about halfway through the album. “If I can’t trust you, then damn it, Hannah, there’s no future, there’s no answer,” Koenig bellows at the chorus, while swelling instrumentation marry a gorgeous piano riff in what is unmistakably an eargasm.
Aside from adopting a new instrument for their repertoire, the band has adopted a new producer. Ariel Rechtshaid, who has helped produce stuff by the Plain White T’s, Usher, No Doubt, Snoop Dogg, Kylie Minogue, Major Lazer, and others, had his hand at co-producing the album alongside Rostam Batmanglij — the first time the band has ever had someone other than Batmanglji touch their sound.
It was probably the best decision they’ve ever made. The funky beats, the pop-with-a-twist – the urban influence – is present throughout the album. The tune “Ya Hey” is the embodiment of this. Thanks, Ariel – we hope you stick around.
Vampire Weekend is growing and changing, and by the sound of “Modern Vampires”, there are great things to expect from these guys in the near future.
Nowadays it’s hard to find an album that merits a listen without skipping any tracks, and this album is beautifully cohesive, but part of its beauty is that each track stands on its own. The music is fuller-sounding, more focused and self-aware. These Columbia grads ain’t graduated yet – they’re in the midst of learning, and it’s paying off.
4.5/5 stars.
Erica Dennis-Orofino
Contributor
