Modern Vampires of the City
There are deftly wielded forces of darkness and light at work on Vampire Weekend’s third record. Elegiac, alive with ideas, and coproduced by Ariel Rechtshaid, *Modern Vampires of the City* moves beyond the grabby, backpacking indie of its predecessors. In fact, whether through the hiccuping, distorted storm of “Diane Young” or “Unbelievers”—a sprinting guitar-pop jewel about the notion of afterlife—this is nothing less than the sound of a band making a huge but sure-footed creative leap.
Vampire Weekend’s third album is a remarkable progression from a band that was already functioning at a high level. The songs are more spontaneous and dynamic and, along with the more lived-in sonics, Modern Vampires finds the group taking a leap forward into emotional directness.
Vampire Weekend never seemed built to last; neither its prep-school visual aesthetic nor its African-tinged pop suggested longevity. But five years after Vampire Weekend debuted, “Oxford Comma,” “Cape Cod Kwassa Kwassa,” and “A-Punk” sound not just as good as they did then, but better. 2010’s Contra offered more of…
Whilst lacking the punch of their previous outings, Vampire Weekend's new record is the sound of a band in control of their musical vision.
It’s been five years, three albums, an SNL appearance, countless festival performances and one lawsuit from an unwitting…
Check out our album review of Artist's Modern Vampires of the City on Rolling Stone.com.
At the time of its release, Modern Vampires of the City was touted as a "deeper" offering from Vampire Weekend.
It wouldn't be surprising to find that Vampire Weekend had worn out their welcome five years after the release of their self-titled debut.
Vampire Weekend is touting their third album, Modern Vampires of the City, as the conclusion of a trilogy.
Clash reviews Modern Vampires Of The City, the third studio album from New York's Vampire Weekend
<p>The indie band step beyond their 'Upper West Side Soweto' aesthetic with a complex and rewarding album about New York, writes <strong>Kitty Empire</strong></p>
Modern Vampires of the City charts the perils and pleasures of adulthood with impressive, singular range.
Review Of Vampire Weekend's New Album. Produced by Ariel Rechtshaid, Vampire Weekend's "Modern Vampires Of The City" will be out March 14 on XL Recordings.
<p>It's no small thing for a band to shake off the shtick that made them famous and move on, but Vampire Weekend seem to have done it, says <strong>Alexis Petridis</strong></p>
In a way, falling prey to hype-inspired backlash as early in your musical career as Vampire Weekend did has its benefits - assuming, of course, you have the long-term determination and songwriting prowess to back it up. When “Diane Young”, the first single from Modern Vampires of the City, emerged it was a bit of a shock: a high energy power-pop jam, complete with speed-it-up slow-it-down Elvis-inspired “baby baby babies”, it’s one of the best things the band has ever done.