Vampire Weekend: Contra

Vampire_Weekend_ContraVampire Weekend: Contra (Beggars Group/Rough Trade) On Vampire Weekend's second album, gone is the occasional pseudo-intellectualism of Ezra Koenig's lyrics, replaced with a literary style reminiscent of J.D. Salinger. Musically, the album is a departure from and an expansion of their previous effort. The production values are much better than their self-titled debut, and the risks they take in terms of instrumentation are much greater.

The pre-released "Horchata" seems to set an electronic opening tone for the record. However, on a more grand level it introduces the album's experimental impulse. The band still is heavily African-influenced, especially in the percussion department, but the songwriting and instrumentation attain a new, stronger balance between professionalism and youthful ambition. The record is exciting and feels fun throughout, like cranking and watching a music box dance in a hip, cluttered apartment.

Ezra Koenig's words fluctuate between understandable and indiscernable, yet his melody lines remain beautiful. When his word are comprehendable, they reflect a maturity and wisdom less present in the lyrics of Contra's self-titled predecessor. Gone on the new record is the Koenig that "sleeps on the balcony after class" ("Campus"), replaced with an awake, more pointed observer. There is something less youthfully naive about this record, both instrumentally and lyrically. They play with auto-tune on "California English," which sounds like Animal Collective dueling with a string ensemble. They let a mariachi band go to town on "Run." Lead guitarist Rostam Batmanglij rocks punk like Dave Longstreth on the frantic single "Cousins."

The calculations would seem contrived if each ingredient on the record didn't feel so natural and sincere. Even on the relatively mediocre "Giving Up the Gun" -- too long without a climax -- Koenig's vocal lines always stand out as some of the most unique in moderrn music. "Diplomat's Son" kicks in with strings seemingly borrowed from Dirty Projectors' "Two Doves"; the band seems influenced by the Dirty Projectors' Bitte Orca (the guitar licks on "Cousins" mirror a number of DP tracks). Whereas Longstreth's songs are always heady and sometimes immediately accessible, accessibility and entertainment are main goals of Contra.

The band writes songs that always sound like candy, and to deconstruct them theoretically almost seems counter-intuitive. Something complex and strange with the time signature is happening in the bridge of "Diplomat's Son," but it is so easy and pleasant to digest that analysis seems unnecessary. That sort of overt academia has little place on the surface of Vampire Weekend's music, which is spectacular in its seeming simplicity. There seems to be no high concept on the record other than to make fun pop music. Vampire Weekend has made the first great record of 2010. - Adam Kritzer

 Vampire Weekend adam-kritzer

Mr. Kritzer travels the globe -- or at least NYC -- looking for revelatory moments of musical bliss.

"Pseudo-intellectualism" use

Hey Taylor, thanks for reading and taking advantage of the comments.

I was using "pseudo-intellectualism" to be a negative (like "fake intellect"). The first album was a lot more lyrically about college and northeastern geography. This album seems to be Ezra Koenig taking himself more seriously as a writer. Sometimes the turns of phrase are clever rather than sensical, but much less so on "Contra" than "Vampire Weekend", in my opinion.

I would love a Vampire Weekend/Dirty Projector new collaboration. However, Ezra Koenig actually played with Dave Longstreth in the Dirty Projectors from 2002 to 2005. Trivia for the day!

Thanks again for writing. Take a listen to the record and post what you think.


Fwd: Vampire Weekend

pseudo-intellectualism of Ezra Koenig's lyrics... is that a sly dig or a back-handed compliment? Dirty Projectors and Vampire Weekend should tour together or collaborate. good call on that.