Vampire Weekend - Vampire Weekend6/10One often has to bow to the power of music websites. They can kill or cure a listener’s indecision by the stroke of their wordy penmanship. Brooklyn quartet Vampire Weekend have benefited from a constant maelstrom of positive comments from drooling musical typists, all extolling the virtues of a band of bold and brash ideas, bringing original sounds to the collectively mundane world of indie pop. Admittedly, their approach is interesting, taking the tried and trusted lo-fi sound of alt-rock and adding occasional Afropop guitar licks and melodious vocal phrasing. That said, their debut long player is only half a triumph. What should have been a potentially enduring collection of musical admissions of long-term intent becomes a superfluous addition to the list of bands who have toyed around with world music. There seem to be two reasons why.Firstly, the rhythms on Vampire Weekend don’t form the focal point of the music; they complement, rather than drive, the tempo of the song. Anyone who has listened to successful artists who have recorded African-influenced music (such as David Byrne, Peter Gabriel, or Paul Simon) will immediately notice the complexity, subtlety and ultimate vitality of the rhythm behind those songs. Vampire Weekend often sounds clunky and awkward, like one would imagine the Strokes would sound performing the collective works of King Sunny Ade. Whereas Byrne, Gabriel and Simon soaked themselves in total integration between African musicians and their individual musical interpretations, the Brooklyn boys offer the merest shallow postcard of African sounds; in other words, whilst Gabriel took the listener on safari, Vampire Weekend leaves us in the hotel lobby.Secondly, there’s the ambiguity of Ezra Koenig’s lyrics, campus doodles and ill-fitting analogies that bear no hint of well-directed storyline. “No excuse to be so callous/ Dress yourself in bleeding madras” is surely a line that only the writer will comprehend, and the repetitive shrill squawk of “Blake’s got a new face” becomes so nauseating it leaves the listener thinking, “Yes, and I’d like to fill it with my fist."That said, Vampire Weekend IS different, at times energetic, with some engaging symphonic string-and-keyboard interplay that suggests that musically the band will definitely garner interest from listeners searching for something that veers off-kilter. Album highlights are the nimble punk of “A-Punk” and the charming opener “Mansard Roof."They describe their music as “Upper West Side, Soweto." If this is ironic humour, I’m not sure, but I laughed like a drain when I read it."Mansard Roof""A-Punk"
Anna says
I agree with you, Jeff. If I may also add, their musical compositions are all over the place without going anywhere in specific and their vocals are worse than nails on a chalkboard. The only song of theirs I can stand is Oxford Collapse.
Nice one.
Marigold says
don't ya hate the hype? It almost is a knock against the cd before you even hear it. I just read p-forks fawning review yesterday and about puked. I think VW's music is somewhat interesting. I actually like some of the songs quite a bit. I am with Anna comment in regard to Oxford Coma being one of the standouts. The thing that really irritates me is the high voice thing the guy does, it reaks of CYHASY vocals which I really am at a loss for. (remember CYHASY?, p-fork chewed them up and spit them out pretty quick...CYHASY who?)
I said all that to say this, I actually think the cd is pretty good. But there is something about it that will never let me connect with it on the next level. So in my opinion you are about right with 6 out of 10 rating.
Great post JJ!
Jammy Jeff says
Dale - I can imagine they're pretty interesting live, and you summed up my feelings entirely on the album as a whole.
Neill - There's moments on here that sound like Sting's "Dream Of The Blue Turtles", which for me says it all.
Jammy Jeff says
Anna - Us Mogsters are in the minority I think, Pitchfork gave 8.8/10. They just love 'em. But then, we know more than Richdork don't we ??
Marigold - You're right with the CYHSY analogy. First they loved them, then they washed them down the toilet. I would never consider "being loved by Pitchfork" as any reason to feel critically safe. Mind you, CYHSY's second album was pretty bad IMO. VW's CD is OK, and there's much worse stuff out there. Like you say, there's something that just doesn't connect.
fastnbulbous says
Wow, backlashorama! All this on the first day of the release? Personally I hesitate to hate on an album until I've spent some time with it. I did think it was interesting that so many people were talking about them last year before they even had an album out. But hype or not, who cares? I downloaded it last month and let my ears do the judging. I've been liking it more and more. I'm buying this one. Look at Metacritic and you'll see Pfork and myself aren't the only ones enjoying it.
I don't think it's fair to compare them to King Sunny Ade. They're just inserting a bit of West African influence into their pop, not attempting to play Juju. And Sting! Now that's a low blow, ha ha. They've got a long way to go to reach his level of pretension and arrogance.
fastnbulbous says
MusicOMH's review had a good response to some of the backlash.
"...Well, a hex upon the hazy, lazy hack who claims Vampire Weekend's debut is somehow "Graceland for the MySpaz generation". For sure, plenty of African musical influence is evident in this record, but Paul Simon never had the copyright on appreciating the sounds of that continent. Neither did Sting, nor even Damon Albarn. On the flipside, African musicians, from King Sunny Ade through Salif Keita to Youssou N'Dour, happily magpie their way round western genres at will. Well they might. Why not? And was Zach Condon dragged screaming over hot coals for appropriating Balkan and kletzmer traditions into Beirut's music?"
More.
Jammy Jeff says
Fastnbulbous - Thanks for your comments. It's healthy to read an alternative view on the album IMO . I've had a promotional copy of this album for a couple of weeks now, and have listened to it about 7 times. I'm sure they will do just fine, my review matters little in their overall masterplan. I agree that African music or Afropop as it is sometimes called isn't the sole domain of certain artists, but I firmly believe that if you're going to incorporate any type of world music into your sound you have to get the basic 'feel' for what makes it special. I have spent a lot of time in South Africa over the years, and although I can't play an instrument for toffee, I was lucky enough to spend some time in a township called "Alexandra":http://en.wikipedia.org/wiki/Alexandra%2C_South_Africa (where Hugh Masekela came from), and watch and listen to some of the locals play. Every song is built around rhythm, even the melodies. Something I think you'll appreciate isn't apparent on VW's debut.
In addition, if they're going to spout off about their influences I wish they'd get their facts right.In a recent interview Ezra Koenig was asked who his influences were."My favorite African guitarist is Orchestra Baobab". Really? Your favorite African guitar player is an entire band? Maybe if instead of being a bunch of well-off Columbia grads, they really were an anthropological experiment joke band about the commodification of world music presented through song, I could get into it.
"Interview for bwog.net":http://www.bwog.net/index.php?page=post&article_id=2458
"Orchestra Baobab":http://en.wikipedia.org/wiki/Orchestra_Baobab
Marigold says
sue me for being sick of p-forks grip on all things indie. I am sick of the kids in tight t-shirts telling me what to listen to as much as I am sick of the man in the suit telling me what to listen to. I gave VW a fair shake. I like em, I don't love em. I will keep em around on my HD for a while and give them more time, but after 5-6 listens I am still not convinced it is the next big thing for ME.
fastnbulbous says
It's easy to understand that not everyone's going to like the album. But I still think the reasons you give are a little odd. Remain In Light cannot begin to match the rhythmic fluidity of King Sunny Ade or the raw passion of Fela Kuti, yet it's one of my all-time favorites, because of all the other elements involved. It's plays with Afropop elements, but doesn't try to mimic it. It's cool you got to experience being in SA. I've seen dozens of African artists live over the years and it's true, white Westerners cannot come close to duplicating the feel of most of them (though the Yanks in Antibalas and Extra Golden do a pretty great job of it). But to criticize a New York pop band for not sounding African enough? Come on.
Another example among many would be The Police's seemingly awkward take on reggae. Sure, their rhythms and fake Jamaican patois were laughable, but they were still a great pop band. Despite being excellent musicians, they did not match the feel of the great roots reggae bands. But I don't think they were trying to.
Regarding "My favorite African guitarist is Orchestra Baobab," what if the interviewer failed to transcribe a key word, like "in"? Can you name the guitarist(s) from Orchestra Baobab off the top of your head?
Sorry to single you out, as many people are guilty, but be careful about dismissing people based on their alma-maters. I went to a top 20 private liberal arts school on full scholarship, despite the fact that my single semi-employed mother couldn't contribute a dime. I had classmates who came from families of migrant farm workers. I don't know about VW's breeding, but it's not only bluebloods who go to good schools.
Jammy Jeff says
Marigold - Thanks, I got your drift on Pfork. Now if I wanted to pull apart their review (like Fastnfabulous is offering his/her view on mine). Guess what ? I can't. They don't accept comments because ofcourse there's is the definitive rating (sic).
Jammy Jeff says
fastnbulbous - I really hope your not suggesting that "Vampire Weekend" is as important as "Remain In Light" ? For a start, "Remain In Light" isn't a Pop album, secondly the rhythms that Chris Frantz/Brian Eno were developing were Fela Kuti/New Wave/Funk influenced Polyrhythms, which in 1980 were a pretty avant-garde and highly original. You're not telling me that VW's rhythmic input is original?
As for The Police, I have to confess they were never one of my favourite bands. They did a few nice singles, but I don't ever remember them announcing themselves as "Kingston calypso from The North East". As I said in the review, "VW describe their music as “Upper West Side, Soweto”. Now if you're going to state your band sounds in the slightest like Soweto music, then you've got to back it up.
Frankly, I can't believe that if the interviewer made a typo/error, the band wouldn't have picked it up immediately. After all it's their own campus website that interviewed them for God's sake. They could have surely flagged the interviewer down at the latest Yacht Club get together?
HelenMarie says
The girls won't be screaming at the stage Beatles style but I personally think it's a good ??debut??. They're just playing and having fun and letting people listen to what they've made. Hype builds expectations.
Peggah says
I fucking love them. They remind me of what would happen if more indie rockers listened to Deep Forest.
Their name threw me off a lot, but I had a lot of fun at the concert. I love listening to the music, and don't think that the songs are 'that' bad. Have you listened to their cover of Exit Music (for a film), it's interesting.
I'm not a big fan of their singles, and really love Campus and Oxford Comma, instead.
Jammy Jeff says
Peggah, thanks for the comment. I'd be interested to hear them live and fortunately they're coming to my home town at the end of February. I think, on your recommendation I should pay them a visit. I haven't heard their Radiohead cover, sounds interesting.
SunshineDaydream - We all have different views on what we hear. That's what makes for so much wonderful diversity in modern music. It would probably be easier for me to tag along with the Pitchfork readership and announce that they are the most innovative new Pop band in the world, but I always stay true to my senses and my review attempts to reflect that, to me, they're an OK band.
Vampire Weekend - Vampire Weekend6/10One often has to bow to the power of music websites. They can kill or cure a listener’s indecision by the stroke of their wordy penmanship. Brooklyn quartet Vampire Weekend have benefited from a constant maelstrom of positive comments from drooling musical typists, all extolling the virtues of a band of bold and brash ideas, bringing original sounds to the collectively mundane world of indie pop. Admittedly, their approach is interesting, taking the tried and trusted lo-fi sound of alt-rock and adding occasional Afropop guitar licks and melodious vocal phrasing. That said, their debut long player is only half a triumph. What should have been a potentially enduring collection of musical admissions of long-term intent becomes a superfluous addition to the list of bands who have toyed around with world music. There seem to be two reasons why.Firstly, the rhythms on Vampire Weekend don’t form the focal point of the music; they complement, rather than drive, the tempo of the song. Anyone who has listened to successful artists who have recorded African-influenced music (such as David Byrne, Peter Gabriel, or Paul Simon) will immediately notice the complexity, subtlety and ultimate vitality of the rhythm behind those songs. Vampire Weekend often sounds clunky and awkward, like one would imagine the Strokes would sound performing the collective works of King Sunny Ade. Whereas Byrne, Gabriel and Simon soaked themselves in total integration between African musicians and their individual musical interpretations, the Brooklyn boys offer the merest shallow postcard of African sounds; in other words, whilst Gabriel took the listener on safari, Vampire Weekend leaves us in the hotel lobby.Secondly, there’s the ambiguity of Ezra Koenig’s lyrics, campus doodles and ill-fitting analogies that bear no hint of well-directed storyline. “No excuse to be so callous/ Dress yourself in bleeding madras” is surely a line that only the writer will comprehend, and the repetitive shrill squawk of “Blake’s got a new face” becomes so nauseating it leaves the listener thinking, “Yes, and I’d like to fill it with my fist."That said, Vampire Weekend IS different, at times energetic, with some engaging symphonic string-and-keyboard interplay that suggests that musically the band will definitely garner interest from listeners searching for something that veers off-kilter. Album highlights are the nimble punk of “A-Punk” and the charming opener “Mansard Roof."They describe their music as “Upper West Side, Soweto." If this is ironic humour, I’m not sure, but I laughed like a drain when I read it."Mansard Roof""A-Punk"
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