Review: Vampire Weekend explores new territories on "Contra"
Jim Gangi
Issue date: 2/3/10 Section: Arts & Entertainment
In many ways, a band's second album is an excellent barometer for gauging their musical legitimacy. A sophomore release can reveal whether a band is a consistent and original force, or whether they are merely a flash in the pan. On their latest album, Contra, Vampire Weekend proves that they are more than just the indie flavor of the week.
Because Vampire Weekend is still so young, it is impossible to listen to Contra without comparing it to the band's first 2008 self-titled release. On Vampire Weekend, the band introduced listeners to their unique sound by mixing bouncy guitar riffs and classical string arrangements with African beats. New listeners might remember Vampire Weekend from the opening scenes of the 2008 comedy Step Brothers, where the upbeat song "A-Punk" accompanies Will Ferrell while he makes nachos. Contra is definitely a step outside the boundaries established in Vampire Weekend. The first album is characterized by a crisp and natural guitar sound and a clean keyboard tone. Vampire Weekend's earlier songs like "Cape Cod Kwassa Kwassa," "Wolcott," and "Campus" capture the feeling of Ivy League college life in the Northeast. It is no surprise to learn that all four band members met on the campus of Columbia University.
However, after listening to Contra, one can tell that Vampire Weekend has left the college campus and ventured outside the Northeast. The album begins with, "In December, drinking Horchata, / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals." As lead singer Ezra Koenig softly finishes these lyrics, a festive chorus of drums bursts through. This unique percussion combined with the melodic use of marimba lets the listeners know that Vampire Weekend is not afraid to explore new musical territories.
On Contra, Vampire Weekend not only experiments with instrumentation, but also takes a risk by using new technology. The album is layered with synthesizers, samples, distortion and a refreshing use of Auto-tune. Songs like "I Think UR A Contra" and "Giving Up The Gun" are infused with electronic tracks that serve to add a contemporary energy to the music. Yet, Vampire Weekend chooses to use technology in a tasteful and temperate manner. On the song "Diplomat's Son," electronic samples and violins blend harmoniously over a reggae piano rhythm. This ability to merge a variety of styles to create a completely new sound can be partially attributed to the band's multitalented keyboard player Rostam Batmanglij. In the liner notes, Batmanglij is credited with the keyboards, piano, harpsichord, drums, shakers, vocal harmonies, string arrangements, synthesizer, sampler programming and guitar. Further exploration of the liner notes will also reveal the Batmanglij actually produced the entire album. The fact that one of the members of the band produced the album means that Contra is pure Vampire Weekend. It has not been filtered or watered-down by any outside sources.
Because Vampire Weekend is still so young, it is impossible to listen to Contra without comparing it to the band's first 2008 self-titled release. On Vampire Weekend, the band introduced listeners to their unique sound by mixing bouncy guitar riffs and classical string arrangements with African beats. New listeners might remember Vampire Weekend from the opening scenes of the 2008 comedy Step Brothers, where the upbeat song "A-Punk" accompanies Will Ferrell while he makes nachos. Contra is definitely a step outside the boundaries established in Vampire Weekend. The first album is characterized by a crisp and natural guitar sound and a clean keyboard tone. Vampire Weekend's earlier songs like "Cape Cod Kwassa Kwassa," "Wolcott," and "Campus" capture the feeling of Ivy League college life in the Northeast. It is no surprise to learn that all four band members met on the campus of Columbia University.
However, after listening to Contra, one can tell that Vampire Weekend has left the college campus and ventured outside the Northeast. The album begins with, "In December, drinking Horchata, / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals." As lead singer Ezra Koenig softly finishes these lyrics, a festive chorus of drums bursts through. This unique percussion combined with the melodic use of marimba lets the listeners know that Vampire Weekend is not afraid to explore new musical territories.
On Contra, Vampire Weekend not only experiments with instrumentation, but also takes a risk by using new technology. The album is layered with synthesizers, samples, distortion and a refreshing use of Auto-tune. Songs like "I Think UR A Contra" and "Giving Up The Gun" are infused with electronic tracks that serve to add a contemporary energy to the music. Yet, Vampire Weekend chooses to use technology in a tasteful and temperate manner. On the song "Diplomat's Son," electronic samples and violins blend harmoniously over a reggae piano rhythm. This ability to merge a variety of styles to create a completely new sound can be partially attributed to the band's multitalented keyboard player Rostam Batmanglij. In the liner notes, Batmanglij is credited with the keyboards, piano, harpsichord, drums, shakers, vocal harmonies, string arrangements, synthesizer, sampler programming and guitar. Further exploration of the liner notes will also reveal the Batmanglij actually produced the entire album. The fact that one of the members of the band produced the album means that Contra is pure Vampire Weekend. It has not been filtered or watered-down by any outside sources.
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posted 4/04/10 @ 8:13 AM EST
wow, this brings back some great memories! it seems like just yesterday i was watching all of these great shows, and more great shows. this homecoming theme has been so much fun!
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