In the autumn I saw Parquet Courts in concert. The adulation they received from their young fans got me thinking about underappreciated American rock bands. Allow me to elucidate—with reference to the works of The Walkmen, Dirty Projectors and more. Continue reading Great Underappreciated Songbook
Yes, I’m back. I couldn’t really keep away from this intriguing little album for much longer. In fact, I’ll probably end up writing a third (and final!) review of Contra as a kind of blog-exclusive. The micro-review below is to be printed in next week’s PartB culture supplement of my university newspaper, The Beaver. Enjoy!
What I really loved about Vampire Weekend was its fusing of catchy pop music, subtle world influences, and some seriously smart lyrics about “college” life. It was the great unifying soundtrack to my first year at university, depicting the perfect, globe-trotting lives of four Ivy Leaguers while I stumbled drunkenly around rainy, gloomy London. That their critiques of privileged youth appropriating distant cultural trends were misinterpreted as somehow endorsing colonialism was bizarre – as anyone who listened properly to “Oxford Comma” would know, Ezra Koenig wasn’t so much flaunting his knowledge of punctuation as criticising that kind of pedant.
Anyway, now they’re back, with the knowingly titled Contra – a wink and a nod to The Clash, and we’re off, with the starry-eyed vocals and thumb piano of “Horchata”, a song that rhymes aforesaid milky drink with “balaclava” and “aranciata”. Cheeky bugger. The next song, “White Sky”, melds the chirpiness of the band’s debut with a new-found love of synthesiser bleeps and beats, no doubt informed by producer-at-large Rostam Batmanglij’s side-project Discovery.
At this point, the most noticeable change in direction exhibited on Contra must be brought to the fore – namely, the sense of sadness and regret that tinges large swathes of the album. This is not such an upbeat album as even a song like “Holiday” would suggest: where cheeky verses once practically fell into rousing choruses, now the default setting is slightly detuned synths and pitter-patter beats. It’s certainly less baroque, as the AutoTuned dancehall of “California English” and the ambitious, sample-heavy “Diplomat’s Son” will testify.
The second noteworthy progression on Contra is, unsurprisingly, in the lyrics. Vampire Weekend was very much an album about campus life; Contra is all about this same set of Ivy League types graduating, inheriting the earth, and now re-evaluating their place in society. So, relationships crumble, and tales of distant shores are nostalgic and wistful. Which, all told, is probably a good thing, because I don’t think another thirty-six minutes of cold professors studying romances, and Blake, with his new face, would have washed with Vampire Weekend’s more astute listeners. Contra is a subtle, limbering creature; less catchy and celebratory; more reflective and critical in its aesthetic and lyrical bent.
The allure of a MySpace preview proved too great. I’ve only gone and loaded up Vampire Weekend’s profile to sample the subtleties of their eagerly-awaited sophomore album, Contra. Well, I say subtleties, but it’s inevitable that somewhere in Rupert Murdoch’s machine, many of the nuances on this record have been eaten up by the low-bitrate monster. In which case, January 11th might be a better point at which to assess this smart, surprisingly low-key creation, which limbers in on a twinkling of keyboards and Ezra Koenig’s wide-eyed, gulping voice, and departs on a plaintive lament.
OK, but I really must say some things about this album right now. First up, it’s considerably less upbeat than the band’s eponymous debut. Where songs once fell into rousing choruses, now everything is tinged with sadness and regret and reflection. Where the music used to fall back on punk, now the default setting is slightly detuned morse code synths and pitter-patter beats. At one point, it even goes all dancehall-via-AutoTune.
Secondly, it’s much less baroque. I mentioned the instrumentation earlier, but what strikes me repeatedly about Contra is how much more modern it sounds. Yes, lead single “Cousins” evokes early Police, but it sits snugly next to songs like “White Sky” and “Run”, which play up the same set of presets as used by keyboard-whizz Rostam Batmanglij on his side-project, Discovery.
Anything else to report on? Of course, Ezra Koenig’s lyrics ought to be scrutinised carefully. Vampire Weekend was very much an album about campus life; Contra is all about this same set of Ivy League types graduating, inheriting the earth, and now re-evaluating their place in society. So, relationships crumble, and tales of distant shores are nostalgic and wistful.
I think I’ll leave it at that for now. But give me another day to digest this work and I’ll probably be back with more thoughts.