Maybe you first received Vampire Weekend‘s self-titled debut like I did. Their African-inspired sounds were a sunny change and I listened to the album a good few times and liked it; I tried to see them live but that proved impossible as, by the time I’d heard of them, they were already beyond cool. I read articles on their possible influences here and there and started checking out the world music section of used record shops, even buying a couple of discs. Then, inevitably, something else came along and the Vampire Weekend album got lost in the far recesses of my external hard drive. Ezra Koenig‘s voice popped up on a few tracks as a guest, most notably on the Very Best‘s Warm Heart of Africa. But to be honest, I didn’t really think I’d hear much about the band again, or that they’d regain the amount of attention they had got for their debut — after all they’re not new anymore, we all have read and (in my case) forgotten their story, and this time around would there be the novelty of a different sound to draw us in? My feelings may not be all that common though. I know at least some of my fellow writers are looking forward to new material by the band; but in a fast-moving popscene, new work by the “it” band of a few years ago might simply be lost in the shuffle. 
Which would be a shame, as VW’s new one, Contra, is a pleasant affair that’s well worth checking out. The band haven’t found a new gimmick, which is thoroughly appropriate — would anyone take them seriously if this time round they experimented with Indian raags or Indonesian gamelan (ripe for an indie makeover though it is)? No, instead VW have done the only thing they could do, which is update their sound slightly while still retaining the elements that make them who they are.
The biggest change to me is the band’s use of more electronic sounds. That might not sound too great to you if it was the afropop guitar that drew you in in the first place, but it’s really not bad. The rhythms retain their worldly vibe, and in a way the update makes sense — think of it as an afropop sound from the 90s instead of the 80s or something (sorry, despite recent purchases my knowledge of African music is still very limited); synths have been picked up, but the music has the same signatures as before, and besides it’s only noticeable on a few songs. Koenig’s distinctive voice grounds the album and is by now pleasingly familiar — on first listen, I really thought of it as his album less than as a band album. On further listen, though, it would be unfair to dismiss the musical contributions of the rest of the band, who provide a backing that ranges from manic on “Cousins” to soothing on “I think U R A Contra.” Themes of escape, regret, and loss are backed with some ornate string and piano arrangements, with a harpsichord popping up at one point as well. The band’s world seems to have expanded somewhat, or at least gotten less specific — I only heard one reference to Manhattan, and none to popular holiday destinations in the North East, despite the cover art featuring a preppy looking blonde girl complete with ruffled polo shirt.
A good effort then, and if you were a fan of their past work I’d recommend this album to you. Don’t let new single “Cousins” put you off, as that song is really more of an anomaly, and doesn’t represent this collection very well. I’m still hoping their stars have dimmed somewhat though — it’ll be easier to get concert tickets that way.
Track Listing:
- Horchata
- White Sky
- Holiday
- California English
- Taxi Cab
- Run
- Cousins
- Giving Up The Gun
- Diplomat’s Son
- I Think Ur A Contra
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