I initially thought Vampire Weekend were a group consisting of preppy, Ralph Lauren wearing rich kids from Oxford. It turns out they are preppy, Ralph Lauren wearing rich kids from New York who like to write songs about Oxford. Well at least one that features it in its title. When I think about how cool New York rich kids can be thanks to Gossip Girl, it doesn’t deter me at all. ‘Contra’ is the follow up to their hugely successful self titled debut album. Vampire Weekend still remain one of those bands people love to hate. Overly self conscious, hip bands that have flooded the music scene post the Strokes (who do it best) have come in abundance. Vampire Weekend, because of their insanely catchy tunes has won over more fans then enemies in the long run though. On Contra the New Yorkers have experimented with their Indie Pop sound or as they like to call it ‘Upper West Side Soweto’, and they may just win over an even bigger legion of supporters.

First track ‘Horchata’ displays their familiar Afro-Pop sensibilities with its tribal feel put through the guise of a more modern day sound, where the use of electronic elements are prominent and it’s this very style which dominates throughout Contra. It begins with an amusingly light hearted lyric: ‘In December drinking horchata, I’d look psychotic in a balaclava’. The complex use of layers is a very exciting start to the album. ‘White Sky’ begins with some jittery electronic programming and the high pitched sound of the electric guitar gives that instantly recognizable Vampire Weekend sound. Some strategically placed Woaaaaa’s and Ooooh’s by vocalist Ezra Koenig finish off a strong piece of inventive Pop. ‘Holiday’ has a noticeably more upbeat feel with a drum beat which rollicks underneath some very jangly guitar chords and rounds out a solid first few tracks.

‘Taxi Cab’ is rather down tempo, drenched in nostalgic recollections. The addition of a piano composition is a real highlight and gives you a reflective state of mind. Vocals have a much more reserved feeling, that of a gentle whisper which best fits the story Koenig is trying to tell. The crafty, ‘Run’ begins with an insightful sentiment: ‘we mostly work to live, until we live to work’. It has that modern drum beat associated with most dance punk acts like the Rapture and !!!. It also contains the jittery electronic twang of the bass throughout, a horn (or a synth that sounds remarkably like one) and once again the layers are impressive. ‘Cousins’ starts in a blaze of drum rolls with short and sharp guitar riffs giving the song its core. The peculiar sound of what seems like a cowbell is a welcome addition as the vocal intensity quite noticeably picks up here and before you know it the song is over after two minutes of frenetic energy. The dominant lyrics of the chorus: ‘me and your cousins, you and your cousins’, is utterly contagious and what listeners have become accustomed to expect from Vampire Weekend.

That sets the way for ‘Giving up the Gun’, a highpoint of Contra and is a true culmination of all the new ideas Vampire Weekend have introduced to their sound. Once again the lyrics carry a nostalgic purpose, this time of youth: ‘when I was seventeen, I had wrists like steel and I felt complete and now my body fades behind a brass charade and I’m obsolete’. The light touch of a glockenspiel really fit in perfectly while the tremolo ringing from the guitar and the use of a distorted synth are superbly placed towards the end, capping off one of the most powerful tracks Vampire Weekend have released to date.

‘Diplomat’s Son’ is drowned in electronic effects and has a distinct M.I.A. feel to it due to its sampling of her music. Midway through there is a considerable change in pace, fluctuating between fast and slow tempos as it becomes a little more reggae inspired. This song to an extent sums up the essence of Vampire Weekend and a new generation of music. The mashing up of all these different elements, smothered in pop culture self awareness, but with a lot of talent bursting out from everything they do. The ambient feel of ‘I Think Ur A Contra’ is perhaps their most experimental piece to date and a true highlight of the album. It begins with a swirling layer of synth containing lots of reverb and the light touches of a bongo drum, then the sudden melancholy of an orchestral arrangement. Koenig’s voice flourishes as he goes for higher notes displaying some impressive vocal acrobatics. The song ends in minimalist fashion with an acoustic guitar, a shaker and finally just the sound of the bongo drum. It’s all slightly overwhelming at first but once it sinks in, you will be impressed.

By the end of the album you take a deep breath just to absorb the enormity of it. For those who thought Vampire Weekend might rest on their laurels after their very successful debut album they are sadly mistaken. They continue to progress musically while still maintaining the basics of their original sound. The result has produced a delightful follow up to their debut, from one of the most talked about bands of the last few years. The other clear message is that they reveal themselves to have much more substance than some have given them credit for.

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