Modern Vampires Of The City

Vampire Weekend

XL, 2013

http://www.vampireweekend.com

REVIEW BY: Benjamin Ray

ORIGINALLY PUBLISHED: 01/27/2014

Vampire Weekend's first two records were critically acclaimed college pop-rock of the highest order, literate, nerdy, study-hall funny and very aware of current events. On their third outing, the band turns its focus inward, examining mortality, aging and religion with the same sort of Paul Simon-inspired indie shoegaze pop of their previous records.

Perhaps because the lyrics are less preppy and more personal, the music is less world-centric and more focused, leaving behind the Afrobeat for a slightly reggae-inspired, vaguely electronic approach. It's the sort of sound that emanates from every Starbucks in every college town, and on the way out the door with your macchiato you're likely to miss what Ezra Koenig is trying to say.

Koenig's lyrics succeed because they confront aging in a real but not self-centered or maudlin way, and his overtures to the characters created paint vivid pictures of life situations we all know. The fighting couple driving across the country in "Hannah Hunt," the self-destructive drunk in "Diane Young," the hopeless, jobless friend in "Obvious Bicycle"—these are all people we have seen, have been, have avoided. my_heart_sings_the_harmony_web_ad_alt_250

These stories intertwine with the observations on aging, the best of these being "Step," in which Koenig rattles off a list of college locations, people and pursuits that seemed so important at 21 but now "Wisdom's a gift but you'd trade it in for youth / Age is an honor, it's still not the truth" before realizing "Everyone's dying, but girl, you're not old yet." "Diane Young" is a call to those who seem to be on a path of dying young (hence the title) with reckless behavior; where a younger man would find it funny, an adult on the brink of 30 is less forgiving, if a bit crotchety: "Nobody knows what the future holds / And it's bad enough just getting old / Live my life in self-defense / You know I love the past 'cause I hate suspense."

The closing line of "Don't Lie" is chilling: "I want to know, does it bother you / The low click of a ticking clock / There's a headstone right in front of you / And everyone I know." Songs like this pair with religious observations in songs like "Unbelievers," "Worship You" and “Ya Hey" (as in Yahweh), all of which concern somebody who needs to believe in God but can find neither the support nor evidence to take that leap of faith.

Other than the breathless verbiage and revved-up acoustic guitar of "Worship You" and the bluesy party stomp of "Diane Young," the music rarely rises above subtle, offering a few charms and melodies that enhance the lyrics but never overshadow them. That's not to say it's forgettable—the twists and turns, the influences and the room to breathe in each song is unlike a lot of current pop and rock—but that Koenig and co. seem more intent on enhancing the words, ensuring you pay attention to your own life, your faith, your own ticking clock.

Then, when you find your own answers, maybe you can giveKoenig the answers he needs.

Rating: B+

User Rating: Not Yet Rated


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