What a difference a studio makes. My first exposure to most of Vampire Weekend’s third LP, Modern Vampires of the City, came through low-quality YouTube concert videos and their recent BBC session. In a live setting, many of the these songs sounded precious and over-worked, leading me to worry that the three-year break following Contra would serve to the band’s detriment. But what the videos failed to capture were the subtle details that make each song on Modern Vampires of the City a worthy and surprising entry into Vampire Weekend’s discography.
Vampire Weekend have always been more adventurous than many of their indie pop counterparts, especially on their last album, 2010’s Contra. While Contra contained a number of perky pop tunes akin to those on their self-titled debut, much of the album displayed notable growth in the songwriting department. Songs such as “Taxi Cab” and “I Think Ur A Contra” didn’t strike me in the same way that “A-Punk” did. They required patience and attention, qualities not necessary to appreciate their debut. That’s not to say that Vampire Weekend isn’t an excellent album. In fact, it may be the band’s most enjoyable record, a collection of endlessly charming songs executed with effortless precision. Yet Contra proved Vampire Weekend would not fade away as unceremoniously as many early 21st-century buzz bands (The Libertines, Hives, etc.). Modern Vampires of the City, the band’s weirdest, albeit prettiest offering to date, provides further evidence of Vampire Weekend’s staying power.
What most listeners will immediately notice is a dearth of obvious singles. Barring the bouncy “Diane Young” and its pitch-modulated vocals, none of the songs are as radio-ready as much of Vampire Weekend’s past work. But what these songs lack in immediacy, they more than compensate for in craftsmanship. At times, Modern Vampires of the City is both Vampire Weekend’s most stripped-down and ornate effort. The insistent percussion that dominated their first two albums has been slowed and softened considerably, while their staccato guitar riffs have been replaced almost entirely by an array of organs, strings, pianos, and synths. But Vampire Weekend do not mistake compositional depth and unconventional instrumentation for artistic growth; it’s their discipline that speaks to their maturity as songwriters.
The album’s best song, “Hannah Hunt,” encapsulates Vampire Weekend’s remarkable progression. Beginning with a bass line that evokes Lou Reed’s “Walk on the Wild Side,” “Hannah Hunt” takes its sweet time building around Ezra Koenig’s delicate, almost hushed vocals. First, it’s the bass, followed by a wistful piano melody and a lone bongo, then a strung-out guitar, and finally an organ and theremin as everything combines to beautiful effect, forming the apex on an album full of great moments. But before this blissful harmony has a chance to wear out its welcome, the song ends as softly as it began. The restraint Vampire Weekend show here is indicative of their tremendous confidence. There are plenty of highlights yet to come and they know it, allowing them to pull back when other bands would attack.
Modern Vampires of the City is yet another step forward for a band that’s as restless as any of its peers. Though it’s Vampire Weekend’s least accessible album, at its best, Modern Vampires of the City is absolutely gorgeous, shining with the polish of a band that knows its way around a studio. While Vampire Weekend may never shed their preppy image, they’ve proven to be much more than precocious Ivy Leaguers with an affinity for Afropop. They’re first-rate songsmiths in their own right, outclassing the competition one harpsichord at a time.
**** (out of 5)
Aural Resonance 