Review of Vampire Weekend's Modern Vampires of the City
May 25, 2013 21:56:23 GMT -6
affrosponge88, violincatherine, and 1 more like this
Post by Stephen77 on May 25, 2013 21:56:23 GMT -6
So I've previously described Modern Vampires of the City as a "masterpiece" but, now, I think I've reached a point beyond that where I'm willing to call it one of my all-time favourite albums*. Every song connects with me now; even the apocalyptic "Hudson", lifted by Ezra Koenig's poetry, no longer sounds like such a drone, although it remains the song I am most ambivalent towards.
One thing you have to admire about this album is the degree of maturation Vampire Weekend has undergone. They've completely shed the prep boy image, at least in regards to their music. I never had a problem with that, personally, but I know for many it created a barrier between them and the band.
Well, haters, take note because, in the words of Biggie Smalls, things done changed. The college days are over and Ezra has greater concerns. Existential crises permeates the album. On Everlasting Arms", the atheist speaker asks himself, "Could I be made to serve a master?" as he longs to be held in the everlasting arms of God that he, despite his desires, can not believe in. On "Ya Hey", he questions the very existence of God before wondering if he has just seen the divine in action as He gloriously spins Desmond Dekker's "Israelites" into The Rolling Stones' "19th Nervous Breakdown" (I'm sure the allusion to both of these songs has further significance; the post-modern use of references is another very important element to the album and adds further layers to it that I have certainly yet to peal off).
There's an ambiguity here that is more admirable and wise than any staunch atheism can provide (make note Ricky Gervais). On "Everlasting Arms", Koenig is wise enough to sing "I'm never gonna understand." Even "Unbelievers" isn't an atheist anthem despite what the chorus may first lead you to believe. As Robert Christgau said in his very rare A+ review, on the battle between atheism and God, "Koenig claims no permanent victory. Too smart. Too much a man, too."
Then there's the personal connection that I find I share with this album. "Everlasting Arms" may be the song I relate to the strongest. The desire to believe in God and be comforted by His presence versus the inability to do so is an internal conflict I have experienced and, hell, continue to experience (whether or not the existence of God is a comforting thought is another matter entirely).
"Obvious Bicycles", the opening track, finds a 20-something seemingly without a place in the world.
"Oh, you ought to spare your face the razor,
Because no one’s gonna spare the time for you.
You ought to spare the world your labour
It’s been twenty years and no one’s told the truth."
And there's also little moments, often outside of context, that reach through and relate: i.e. "I don't want to live like this/but I don't want to die" from "Finger Back".
Such personal connections are not necessary to love an album but it's always an bonus to be able to personally relate to what you're listening to.
A lot of this makes the album sound kind of dark, but there's plenty of hope too. The final song, "Young Lions" - practically a coda - is a repetition of the lines, "you take your time, young lion" which, apparently, an older stranger randomly said to Koenig when he bumped into him as the band was in the midst of recording Contra. It's a message of hope and a perfect way to end the album especially after the apocalyptic visions of "Hudson" - the only song on the album I would actually deem as being "dark".
And for those who enjoyed the playfulness of their previous record, that's by no means missing here either. "Diane Young" and "Finger Back" are incredibly fun despite dealing with weightier subject matter. There are also little flourishes scattered throughout, most likely added by Rostam Batmanglij (he has "Batman" in his name so you know he's awesome), who perhaps deserves as much credit for this album as Koenig. Note the distorted backing vocals at the end of "Everlasting Arms". The words "hold me in your everlasting arms" barely filter through and I have no idea why - my understanding of this remains purely on a subconscious level - but it adds extra emotional weight to the song. Also, see the modified vocals on "Diane Young" as Koenig repeats "baby". There are all kinds of earworms like this throughout the album. And the music is gloriously detailed. I'm still noticing things about 11 or 12 listens in. These guys are masters of pop.
And I said all of this without mentioning "Hannah Hunt" - perhaps my favourite song on the album - which details a dissolving relationship as a couple travels across the United States. The lyrics are great. Musically, it's perhaps the simplest on the album. There's a gorgeous piano break towards the end that leads to a powerful Koenig falsetto. The song begins to swell. Koenig's voice almost cracks as he sings, "if I can't trust you, then damn it, Hannah". Such emotional catharsis. It's my favourite moment on an album full of great ones. The kind of moment that, like when God spins "Israelites" into "19th Nervous Breakdown" in "Ya Hey", can even make some agnostics/atheists wonder if they've just heard the divine in action.
Favourite tracks: "Unbelievers", "Step", "Hannah Hunt", "Everlasting Arms", "Ya Hey"
*Possibly my favourite of the decade. I think I'd put it ahead of Channel Orange but maybe behind My Beautiful Dark Twisted Fantasy.
One thing you have to admire about this album is the degree of maturation Vampire Weekend has undergone. They've completely shed the prep boy image, at least in regards to their music. I never had a problem with that, personally, but I know for many it created a barrier between them and the band.
Well, haters, take note because, in the words of Biggie Smalls, things done changed. The college days are over and Ezra has greater concerns. Existential crises permeates the album. On Everlasting Arms", the atheist speaker asks himself, "Could I be made to serve a master?" as he longs to be held in the everlasting arms of God that he, despite his desires, can not believe in. On "Ya Hey", he questions the very existence of God before wondering if he has just seen the divine in action as He gloriously spins Desmond Dekker's "Israelites" into The Rolling Stones' "19th Nervous Breakdown" (I'm sure the allusion to both of these songs has further significance; the post-modern use of references is another very important element to the album and adds further layers to it that I have certainly yet to peal off).
There's an ambiguity here that is more admirable and wise than any staunch atheism can provide (make note Ricky Gervais). On "Everlasting Arms", Koenig is wise enough to sing "I'm never gonna understand." Even "Unbelievers" isn't an atheist anthem despite what the chorus may first lead you to believe. As Robert Christgau said in his very rare A+ review, on the battle between atheism and God, "Koenig claims no permanent victory. Too smart. Too much a man, too."
Then there's the personal connection that I find I share with this album. "Everlasting Arms" may be the song I relate to the strongest. The desire to believe in God and be comforted by His presence versus the inability to do so is an internal conflict I have experienced and, hell, continue to experience (whether or not the existence of God is a comforting thought is another matter entirely).
"Obvious Bicycles", the opening track, finds a 20-something seemingly without a place in the world.
"Oh, you ought to spare your face the razor,
Because no one’s gonna spare the time for you.
You ought to spare the world your labour
It’s been twenty years and no one’s told the truth."
And there's also little moments, often outside of context, that reach through and relate: i.e. "I don't want to live like this/but I don't want to die" from "Finger Back".
Such personal connections are not necessary to love an album but it's always an bonus to be able to personally relate to what you're listening to.
A lot of this makes the album sound kind of dark, but there's plenty of hope too. The final song, "Young Lions" - practically a coda - is a repetition of the lines, "you take your time, young lion" which, apparently, an older stranger randomly said to Koenig when he bumped into him as the band was in the midst of recording Contra. It's a message of hope and a perfect way to end the album especially after the apocalyptic visions of "Hudson" - the only song on the album I would actually deem as being "dark".
And for those who enjoyed the playfulness of their previous record, that's by no means missing here either. "Diane Young" and "Finger Back" are incredibly fun despite dealing with weightier subject matter. There are also little flourishes scattered throughout, most likely added by Rostam Batmanglij (he has "Batman" in his name so you know he's awesome), who perhaps deserves as much credit for this album as Koenig. Note the distorted backing vocals at the end of "Everlasting Arms". The words "hold me in your everlasting arms" barely filter through and I have no idea why - my understanding of this remains purely on a subconscious level - but it adds extra emotional weight to the song. Also, see the modified vocals on "Diane Young" as Koenig repeats "baby". There are all kinds of earworms like this throughout the album. And the music is gloriously detailed. I'm still noticing things about 11 or 12 listens in. These guys are masters of pop.
And I said all of this without mentioning "Hannah Hunt" - perhaps my favourite song on the album - which details a dissolving relationship as a couple travels across the United States. The lyrics are great. Musically, it's perhaps the simplest on the album. There's a gorgeous piano break towards the end that leads to a powerful Koenig falsetto. The song begins to swell. Koenig's voice almost cracks as he sings, "if I can't trust you, then damn it, Hannah". Such emotional catharsis. It's my favourite moment on an album full of great ones. The kind of moment that, like when God spins "Israelites" into "19th Nervous Breakdown" in "Ya Hey", can even make some agnostics/atheists wonder if they've just heard the divine in action.
Favourite tracks: "Unbelievers", "Step", "Hannah Hunt", "Everlasting Arms", "Ya Hey"
*Possibly my favourite of the decade. I think I'd put it ahead of Channel Orange but maybe behind My Beautiful Dark Twisted Fantasy.
