This New York foursome came out of the gates in 2008 – guns-a-blazing – with their self-titled debut Vampire Weekend. It was rife with worldbeat beauties about being rich and prominent. Many critics eluded that these youngsters were posing and had stolen their fresh new sound from a variety of genres. The fact that the band's name itself evoked images of crazed teenage girls didn’t help attract serious music listeners either.
But as their tunes slowly dripped through speakers, more and more people reluctantly entered their lair. With the release of Contra (XL Recordings), expectations were high that this would be a carbon copy of the debut, which would have sufficed for their legions of supporters. But to the surprise of critics, lead singer Ezra Koenig and keyboardist Rostam Batmanglij had other plans. Batmanglij is the musical genius to Koenig’s lyrical genius in Vampire Weekend. He produced as well as provided much of the worldbeat feel to the new album.
On Contra, Vampire Weekend have evolved beyond even their own expectations. They have given their fans (and everyone else) a tighter, more mature, and downright better collection of songs. Arguably every single track on Contra has redeeming value.
This time though, Koenig has upped the ante on the lyrics, which are sometimes deep, frequently strange, and always intriguing. On the bouncy ska perfection of “Holiday,” Koenig sings, “Holiday, oh a holiday! / And the best one of the year / Dozing off underneath my sheets / While I cover both my ears / But if I wait for a holiday could it ever stop my fear? / To go away on a summer’s day seemed so clear.”
“Cousins,” the first single off Contra, is a high-octane, thousand-mile-per-hour punk/pop prize. The song showcases everything that is great about Vampire Weekend. Along with Koenig and Batmanglij, speed drummer Chris Tomson and bassist Chris Baio bring home solid musicianship (the four met and formed the band as students at Columbia University in 2006). The video is a direct hit as well.
On the eighties feel of “Giving Up The Gun,” the group drives a pop song through the roof with a solid and stomping rhythm section and smooth synths. A song like this could be a hit by itself on someone else’s album. On Contra, there are really no standout tracks. They’re all excellent.
As the songs flow, one may be reminded of Paul Simon. Maybe a little Graceland filters through. This was true on their first release, but becomes very noticeable on Contra with its depth, breadth, and synthesis of genres. A prime example is “Diplomat’s Son,” which kicks off with M.I.A. samples and an infectious vibe that ends way too soon. Simon’s influence is especially obvious in the opener, “Horchata,” which includes a soaring chorus of singers and tribal-ish drums. In this joyous selection, Koenig sings, “In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals.”
The closing track “I Think Ur A Contra,” is a beautiful creation combining piano, a string section (or the synth version of that), Koenig’s lilting voice, and a plea to possibly his own youth (“You wanted good schools / And friends with pools / You're not a Contra / You wanted Rock' n' Roll / Complete control / Well, I don't know”).
Contra proves that Vampire Weekend weren’t a fluke the first time around. If the rich kid mentality is too much for you, get over it. This album should end up on several top ten lists at year's end. Buy it now.
Sunday, February 14, 2010
Friday, February 12, 2010
Spoon exceed expectations with 'Transference'
For listeners who feel that Austin’s Spoon achieved overnight success with 2007’s triumphant Ga Ga Ga Ga Ga, they couldn’t be more wrong. These guys have been hard at it since 1993, when Britt Daniel (vocals, guitar) and drummer Jim Eno formed the band. Various and sundry musicians have come and gone, as have labels (Merge has been Spoon’s mainstay since 2000’s Love Ways EP). Rob Pope (bass) and Eric Harvey (keyboard, guitar, percussion, backing vocals) round out the foursome. Spoon are notorious for getting record deals, then losing record deals. Despite this, and due in part to Daniels' demanding perfectionism, Spoon have discovered well-deserved success.
The band’s name is derived from the avant-garde German band Can, who recorded the hit song “Spoon” in the early seventies. Daniel and Eno were fans. As Spoon evolved throughout the mid- to late-nineties, their sound developed a cult following among alternative music fans looking for something else.
Ga Ga Ga Ga Ga featured hook-heavy, instant hits, such as “You Got Yr. Cherry Bomb,” “The Underdog,” and “Don’t You Evah.” The group’s seventh full-length release Transference takes a little longer to ease into. In the lead-off track, “Before Destruction,” Daniel sounds as if he’s in a large, cold room, singing things like “Before destruction a man’s heart is haughty / Everyone loves you for your black eye.” It’s a sparse, raw sound that was not present on their previous release. But Spoon want you to understand that they’re not in it for the hits. They’re in it to prove their excellent musicianship, the sometimes off-kilter singing, and the sharp lyrics.
This mood quickly shifts gears with the jumpy “Is Love Forever?” Daniel does the voice-echo thing, which has almost become a trademark, at least for some songs. The next several songs range up and down, emotionally, always with something to grab onto. “Who Makes Your Money” slides in with a synth and easy drum beat, with Daniel deftly doing the asking.
The first single, “Written In Reverse,” gets back to the raw sound with a stop-start jam and banging piano sounding like it was done in one take, and that’s meant as a (“I’m writing this to you in reverse / Someone better call a hearse / I can see it all from here from just a few glimpses”).
“Trouble Comes Running” is the all-out hooky rocker that does not disappoint. Daniel emotes, “I was in a functional way / I had my Brown Sound jacket / Queen of call collect on my arm / She was my calmer down / She was my good luck charm / Here it come running / Trouble come running again.” With a catchy guitar riff, killer drums, and some sweet harmonies, this one could be the show starter.
“Goodnight Laura” and “Out Go The Lights” are unexpected near-ballads showing a kinder, gentler Spoon. Throughout the album, the evolved and mature sound shows a band comfortable and confident. Then there’s “Got Nuffin,” a return to vintage Spoon with the quivering guitar and solid, driving rhythm section. Daniel seems to be coming out of the clouds of self-doubt with this one (“And I got nothing to lose but darkness and shadows / Got nothing to lose but bitterness and patterns”).
The remainder of tracks form together to design a terrific outing from indie music’s new kings. Transference debuted at number four on the Billboard charts, a spot none of their previous albums reached. Spoon pride themselves in showing all the blemishes and imperfections. Daniel likes leaving those little miscues and flawed takes on the albums. It becomes more of a real production…more genuine and believable. And so it goes that the quartet from Austin keeps aiming for perfection.
The band’s name is derived from the avant-garde German band Can, who recorded the hit song “Spoon” in the early seventies. Daniel and Eno were fans. As Spoon evolved throughout the mid- to late-nineties, their sound developed a cult following among alternative music fans looking for something else.
Ga Ga Ga Ga Ga featured hook-heavy, instant hits, such as “You Got Yr. Cherry Bomb,” “The Underdog,” and “Don’t You Evah.” The group’s seventh full-length release Transference takes a little longer to ease into. In the lead-off track, “Before Destruction,” Daniel sounds as if he’s in a large, cold room, singing things like “Before destruction a man’s heart is haughty / Everyone loves you for your black eye.” It’s a sparse, raw sound that was not present on their previous release. But Spoon want you to understand that they’re not in it for the hits. They’re in it to prove their excellent musicianship, the sometimes off-kilter singing, and the sharp lyrics.
This mood quickly shifts gears with the jumpy “Is Love Forever?” Daniel does the voice-echo thing, which has almost become a trademark, at least for some songs. The next several songs range up and down, emotionally, always with something to grab onto. “Who Makes Your Money” slides in with a synth and easy drum beat, with Daniel deftly doing the asking.
The first single, “Written In Reverse,” gets back to the raw sound with a stop-start jam and banging piano sounding like it was done in one take, and that’s meant as a (“I’m writing this to you in reverse / Someone better call a hearse / I can see it all from here from just a few glimpses”).
“Trouble Comes Running” is the all-out hooky rocker that does not disappoint. Daniel emotes, “I was in a functional way / I had my Brown Sound jacket / Queen of call collect on my arm / She was my calmer down / She was my good luck charm / Here it come running / Trouble come running again.” With a catchy guitar riff, killer drums, and some sweet harmonies, this one could be the show starter.
“Goodnight Laura” and “Out Go The Lights” are unexpected near-ballads showing a kinder, gentler Spoon. Throughout the album, the evolved and mature sound shows a band comfortable and confident. Then there’s “Got Nuffin,” a return to vintage Spoon with the quivering guitar and solid, driving rhythm section. Daniel seems to be coming out of the clouds of self-doubt with this one (“And I got nothing to lose but darkness and shadows / Got nothing to lose but bitterness and patterns”).
The remainder of tracks form together to design a terrific outing from indie music’s new kings. Transference debuted at number four on the Billboard charts, a spot none of their previous albums reached. Spoon pride themselves in showing all the blemishes and imperfections. Daniel likes leaving those little miscues and flawed takes on the albums. It becomes more of a real production…more genuine and believable. And so it goes that the quartet from Austin keeps aiming for perfection.
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