Modern Vampires of the City
WHERE some bands stumble, or only manage to solidify what they’ve done on earlier albums, New York indie outfit Vampire Weekend jump ahead in their third album.
Modern Vampires of the City is full of clever wordsmithery backed by ambitious music. It is richly detailed and complex in spurts, but mostly it is more refined with contemporary pop melodies and world music rhythmic flourishes.
The album has been dubbed the third in a trilogy, so is a change coming?
Hudson could be the clue. Buried at the end of the album it is deeper and darker than anything they’ve written. It stands out like a sore thumb. More typical is the sunny, keys- lead Unbelievers or the giddy piano riffing on Young Lion. Don’t Lie is built on some instantly VW- sounding percussion, while Everlasting Arms is the band at its most Talking Heads- ish. Finger Back shows good things happen when they step on the gas for a moment, but the killer twist is the song’s crazy spoken word interlude.
Step is a standout among the standouts with its infectious harpsichord melody and a lyrical nod to ’ 90s rap.