Album: Contra
Short Review: Vampire Weekend's Contra is a strong second album that overcomes occasionally stifling production with tight, fun Paul Simon-pop.
Long Review: Contra makes me realize that I am a hipster.
One of the most tried and true moves in the hipster play book is backlash. It's an important one, because it a) establishes credibly about a band (ie: “Vampire Weekend? Yeah, I saw them back in 2007 with like 10 people at some college party up in Hartford. It was so totally authentic”) and b) allows for the “I-liked-them-before-they-were-cool” elitist abandonment. Backlash is the musical equivalent of the one night stand: like a band once until they get cool, then jump off the band wagon to seem cooler than the rest of the plebes who are just catching on.
I've felt myself slipping into preemptive backlash mode twice. The first time was before the release of Forgetting Sarah Marshall, a movie i decided I wasn't going to like because I was sick of “that whole Judd Apatow scene.” Thankfully, I came to my senses, realized the man has never been involved with a movie I didn't love and now Forgetting Sarah Marshall is one of the only Blu-Rays I own.
The second time occurred in the weeks leading up to Contra's release. Considering how many of my other favorite blog bands had burned me in the past on sophomore releases (Cold War Kids, Tapes n Tapes, Clap your Hands Say Yeah), I felt I had a right to be skeptical in four preppy dudes who made tight pop songs that sounded like Paul Simon.
Just like with Forgetting Sarah Marshall, I am pleasantly surprised to report that Contra is an album that is every bit as good as Vampire Weekend. Even if I am a hipster douche, I can still recognize one of 2010's better records.
The biggest change between Contra and Vampire Weekend is the production. Rotsam Batmangllij is all over this record, covering songs like “White Sky” and “Giving Up The Gun” with layers of programed drums, keyboard bloops and synth bleeps. Seems like his work with Discovery had a pretty big impact on the band's current sound. There are so many digital elements, it becomes hard at times to remember there is an actual band under all those computer noises.
While it can be a little disarming to hear so much sound that it boarders on overproduction, these songs work because, at their core, they are just well written, catchy, breezy pop songs. If you liked the first Vampire Weekend record, there is no reason not to like Contra, which boasts some immediate hits and some slow burners. For example, “Cousins,” the well-traveled second single for the record, is a frantic, goofy, kick ass pop song in the same vein of “A-Punk” and one of the album's most immediate tracks. Then there are songs like “Taxi Cab” and “Giving Up The Gun,” tracks that take a few listens to stick but make them all the more satisfying once they take.
Really, besides the hype and the new-fangled production, Contra is a spiritual continuation of Vampire Weekend's sound. Both albums have songs to hook a listener. Both songs yield new benefits with repeat listens. Both albums make for top notch party music. Both albums feature the best indie-pop being made. Sure, this album sounds a little less like a full band effort because of all the keyboards and synths, but that doesn't take away from the strength of the songs.
Putting things down makes people feel cool, and feeling cool is always a big temptation for people who obsess over music. I urge anyone interested in Vampire Weekend to overcome the urge to backlash and give Contra a fair shake. The rewards outweigh the cool feeling one gets from being a dick.
Key Tracks: Cousins, Giving Up The Gun, California English, Taxi Cab, White Sky
Buy, Steal, Skip: Buy
6 comments:
This is a painfully accurate review. We saw Sarah Marshall two days in a row...in theatres.
I'll be honest. The whole Paul Simon thing is cool, but when it sounds like a blatant rip off, it's just a tad jarring. The production, as slick as it may be, is a tad overbearing and I really can't get behind the rich Ivy League lyrics. I get it, you can score a trust fund bitch chick if you want and you still want to be all sad when, like every rich girl, breaks your heart. It has redeeming moments, but there are quite a few faults too. I guess my biggest beef is the fact that it's just not really all that great yet gets a lot of praise for being so. I def enjoy "Cousins" and "Giving Up the Gun."
Need to listen again, but I also refuse to join in any backlash. This batch of songs sounds as happy and catchy as the first, and all the different sonic touches are cool without being overbearing. One thing I'll listen for is whether the sound fx make the songs sound disjointed, but that didn't seem to be the case initially. But yeah, it's a fun record--nice writeup.
(I like how the words "Paul Simon" were as close as you got to namedropping African genres.)
Seeing as Nate Adams has a widely recognized racial bias, not to mention a long-standing prominence in America's white supremacy movement, it goes without saying that it would be totally against his most cherished principles to listen to any music produced by non-white artists, especially Africans! To suggest otherwise is libelous and potentially damaging to his reputation. I therefore find Mr. Langhoff's insinuations incredibly insensitive and offensive. You want African music? Go pick up a Putomayo collection at Starbucks pal, it's all Snow White cracker caucasian with bleach rock around here.
Sincerely,
A Concerned Fan
P.S.
Ladysmith Black Mambazo rules!
you can't really understand vampire weekend until you've snorted coke with them in the bathroom of union pool in williamsburg..like i have..like 10 times.
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