Vampire Weekend – Modern Vampires of the City (2013)

I remember the first time I listened to Modern Vampires of the City—it was during the freezing winter of 2013, in Dallas, and I was working at my go-to job for when I’m away from school: temping for a maintenance company that specialized in apartments. The sphere of work I was subjected to was limitless; whether I was fixing tenants’ sinks or picking up trash, I was doing whatever was needed at each respective apartment complex. This particular complex had me assigned to the latter, and one morning I decided to give this album a try. Before the albums opener, “Obvious Bicycle,” had finished, I realized that this wouldn’t be an album similar to prior Vampire Weekend works, and I was right—this album elevated the band to a whole new level sonically and lyrically, expanding tremendously on the synth-pop and Afrobeat roots that the group was founded on.

I still remember the first time I heard Vampire Weekend period. It was in the spring of 2008, the sole school year my brother and I shared at the same high school. Naturally, he drove me to and from school every day, and one day he put on “Walcott.” Something about the upbeat, peppy sound entranced me, and I immediately googled the song’s lyrics when I got home. Not to my surprise, it was performed by the same four guys who had written “A-Punk”—another captivating, lighthearted dose of indie-pop.

The same elements that made the band’s first two albums a success play a pivotal role in Modern Vampires, but this time around the band introduces a matured and more refined sound. Songs like “Unbelievers” deliver a stark contrast musically and lyrically; backed by lively guitar chords and a rolling drum beat, the band’s front-man Ezra Koenig sings about the bleakness and uncertainty of the future, and apathy towards religious dogma.

Koenig’s deep, emotionally intelligent lyrics play a large part in making this album a success. On the albums strongest track, “Step,” he writes: “Wisdom’s a gift but you trade it for youth/Age is an honor, it’s still not the truth”—a pretty profound sentiment, especially considering he wrote it before even hitting 30. The number of historical references over the course of the album is endless—whether to the Dome of the Rock or Angkor Wat, there are more than enough allusions over the course of Modern Vampires to have you buried in an Art History textbook for days.

However, the true strength of this album lies in the music itself, and the way each track plays together seamlessly. This is truly a cohesive work of art: it’s apparent that every chord, bridge, and lyric was thought through with particular attention to detail.

The tone of Modern Vampires is another turning point for Vampire Weekend—counterbalancing incredibly catchy, 50’s-esque “Diane Young” is a song like “Hudson”—an ominous tune that shows a more austere side of the band. “Everlasting Arms” almost sounds like Ratatat’s attempt at a 1980’s prom dance hit. “Hannah Hunt” crescendos its way into a proverbial explosion, starting off with Koenig whispering about a couple on a road trip, and culminating with him wailing about being able to trust his significant other. This lyrical build up is accompanied by an appropriate musical outbreak: the instruments reach their peak along with Ezra, resulting in a cathartic moment.

There are very few albums in existence that I wouldn’t change a single thing about, and this is one of them. Modern Vampires of the City is the pinnacle of Vampire Weekends three albums. It’s emotionally deep, haunting, upbeat, and funny–all at the right moments. No track feels weaker than another; they are all simply pieces to the puzzle. If you were uncertain about Vampire Weekend’s musical promise, this album, which I consider to be the best of 2013, should change your mind.

97/100