By Matthew Ritchie, Assistant Arts Editor
Grade: B
Vampire Weekend is a technological marvel in the music industry. Creating a sound that is based in Ska, Paul Simon’s Afro Pop and the guitars of Tinariwen, Vampire Weekend are a band that garnered attention in the blogosphere at break neck speed. Employing the use of music websites Hype Machine and Stereogum, the band rose from a little known pop band made up of Columbia grads to tour with The Shins.
Following the release of their self-titled album in 2008, the most hyped band of the decade saw their songs become the backing soundtracks to films, television and most collegiate dorm rooms.
Vampire Weekend have returned this week with Contra, an album that derives its name from the term given to rebels opposing Nicaragua’s FSLN as well as the popular Nintendo game. The majority of Vampire Weekend’s listeners may be unaware of the previously mentioned political movement. Because of this, the album sounds more like the video game baring the same name. Much like Contra 3: The Alien Wars, this album is a bombardment of a variety of stimuli that only intensifies as it progresses.
The album begins with lead-off single “Horchata”. In pure Ezra Koeing fashion, the wordplay resembles British wordsmith Morrissey’s lyrical content. It’s impossible to enjoy this song without examining a dictionary between breaks. What the hell is “Aranciata” anyway?
Surprisingly, the first track on Contra is the most restrained as well. Gone are the days of baroque gems that resemble the classical stiffness of a La Coste Polo’s collar.
“California English” is a quirky R&B jam that employs the use of auto-tune vocals to great success. In a world of T-Pain albums and T-Pain apps, it comes as a surprise that no other pop band has used the popular Pro Tools device in their songs. Auto-tune is a device used primarily to enhance a bad singer’s ability to hit notes correctly, but Koening sings perfectly already. Due to this, the track doesn’t sound like a club jam. Instead Vampire Weekend creates a quirky layer over top of an already energetic composition.
“Cousins” may be the highlight of the record. With an ever present bass drum pounding away at four on the floor, bassist Christopher Thomson lays down a tasty cyclical groove while Koeing and multi-instrumentalist/arranger Rostam Batmanglij have a surf guitar duel. If there was ever a Vampire Weekend song most likely to end up on the next Guitar Hero, “Cousins’” shredding throw-down may be the one.
The album has more surprises in store. “Giving up the Gun” is the most radio-friendly song by the band yet. Koening’s affection for New York urban radio station Hot 97 materializes in this track via hip hop inflected drums, grimy synthesizers, and bells that follow the vocal melody. The bass pounds in 16th-note carnage, akin to Constantines “Trans Canada”, creating a complex sound unlike one previously made by the band.
Besides these four stand-out tracks, the rest of the album may get lost. Upon further listens it is sure to delight. Pick up Contra if you have affection for boat shoes and The Specials.
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