Review: Vampire Weekend Self-titled Debut
February 20, 2008
Joel Bentley
I’ve never been to Africa, but if I had – and happened to wield an uncanny ability to compose pop melodies and a major record debut – this is the musical creation I’d longingly return with. Think of Vampire Weekend as Paul Simon’s hipster sons, conceived during the Graceland era. Peppy drumbeats, hopping bass, 70s synth, crisp guitars, and unabashed vocals form their uncomplicated, cheery sound. But while their tone and lyrical quality harkens to an African journey, at its core this is an indie pop album.
The album opens with the chirpy chord of Rostam Batmanglij’s keyboard in “Mansford Roof.” Chris Tomson’s percussive drums take over the song after a few short breaths, and drive the album at a quick, though never rushed, pace through the album’s 34 minutes. Chris Baio’s bass and Ezra Koenig’s guitar share most of the melodic riffs throughout the 11-tracks. Lead singer Koenig’s lyrics have a consonant quality to them, as evident in “A-Punk”: “Cut his teeth on turquoise harmonicas.” The video for “A-Punk” is lo-fi crafty goodness (that’s craft fair crafty, not swindler crafty) – all paper fish, pastel coloured sweaters and polo shirts. Classical routes from their time at Columbia University sneak through on “M79,” which begins with a jumping harpsichord and violin melody. There are points in the album when I almost wish they would slow down. Take the bridge for the album’s first single, “Cape Cod Kwassa Kwassa,” for example: Koenig’s falsetto croons over hypnotic congas, putting the listener in an immediate trance. But the boys won’t linger on their daydream, rushing home to mother’s chorus: “Is your bed made? Is your sweater on?”
It’s refreshing to hear such a shameless display of musical optimism. Vampire Weekend’s self-titled album is as bright and clean as the midday sun, possessing enough good cheer to bring the summer on a few months early. Watch for them this coming March 27 at Richards on Richards.
Now you go...
Got something to say?