Daveportivo's Cultural Evaluation Facility

What were we all expecting from the Vampire Weekend, how exactly would they follow up their self titled debut, the signals seem mixed. Their debut mixed a warm cosy charm, with a genuine intellectual wit and a penchant for inventive arrangements. There debut also had it's cringe worthy moments, it was more than a little rough around the edges and was given the slapdash "preppy" label by the media. Nonetheless it was a success both critically and commercially but what next? I was thrilled by Erza Koenig work on The Very Best Of's Warm Heart Of Africa and hoped for a broadening of their already cosmopolitan sun drench pop sound. Other's were hoping for irresistible anthems to match Oxford Comma and A-Punk, and first single Cousins didn't disappoint. It was a lightening quick jaunt with a feral mad cap energy that was barely contained by Erza disarming vocal. It displayed a surprisingly visceral edge, it packed a hell of a punch (or should that be crunch), it was short sharp and concentrated, like all the world's new years celebrations happening at once, all the dancing, the fire works, the debauched acts all squeezed into two minutes. It was however completely deceiving, while Contra is layered with sharp and surprisingly immediate pop music, it's far more expansive than it's first single dared to suggested.

The time Erza spent with Radioclit immersed in the sound of Malawi is immediately apparent, alongside their beach house dreamy pop melodies, art house angles and university romance laid the sound of pounding West African drums and the joyous chanting harmonies. Album opener Horchata rumbles out like an African sun rise rolling atop a see of rumbling drums and bursting out in a unified euphoric cry. It's quite the album opener, it may certainly challenge some as the string section emerges playfully augmented by xylophone before the thundering drum beat returns to drown Erza frantic semi-rapped vocals. It's a beautiful cacophony of noise to start the album and underneath it all are those killer couplets that immbed themselves in you're subconscious; "In December, Drinking Horchata, I'd Look Psychotic, In A Balaclava". This is new for Vampire Weekend, music that charms and challenges in equal measure, similar to Cousins there is a base level of immediacy and no shortage of hooks, but the music arrangements are more obtuse, they take longer to reveal themselves and climaxes in a furious power crescendos. These crescendos provide Contra's undoubted high points, they conjured these truly euphoric moments that so few mainstream bands fail create these days, between the ice cool electro warbles and chronically uncool but wondrous uplifting horns it's the joyous escapist cry of "we could Run" that will steal listeners hearts on Run.

Fear not, the Vampire Weekend have not lost their touch for the soothing sunshine pop that won them so many fans in the first place. White Sky is so calming and relaxing you can just close you eyes and imagine yourself lying on a beach in Barbados and watching the world goes by as Erza asks you to "Sit On The Park Wall, Ask All The Right Questions: Why Are The Horses Racing The Taxis in the winter, Look up at the buildings imagine who might live there". It's a reflective an beautiful track that builds to a chorus where Erza is overcome by his own inquisitiveness and explodes into a sonic orgasm of yelps and coos. It may lack a conventional hook but it'll charm your pants off on a single listen. Diplomat's Son is equally charming, it's the albums longest track, and has a west Africa meets the Carribean vibe. The track evolves at it's own pace, combining electro squelch with soft coos. At first it's almost too playful, it verges on self parody, but it's held together by Erza delightful vocal, it feels sparse, more open ended than anything on their debut. It's a real mood piece, and it leads into the cooling emotional closer I Think You're Contra. Which feels like a risk, it's emotionally powerfully, and heartbreaking in it's honesty, a true epic, but it will test their new found audience patience, hopefully they'll stick around long enough to uncover the beauty in these tracks slower pace pieces.

Of course this is the Vampire Weekend and it's those areas between the heavenly ballads and the mad cap arrangements that they never fail to impress, and like their staggering debut Contra is loaded with potential singles. Giving Up The Gun simply has to be released, it manages to feel both familiar and daring at the same time, it's rumbling beat is too groovy to resist and the Diplo/M.I.A electro horns give it a harsh contemporary edge. Yet unlike their previous singles it's more expansive at nearly five minute, the track grows changes moods, and is both startling immediate and knowingly epic. This marks the key to Vampire Weekend's sound, they combine of so many elements, styles and sounds, to create a hazy summer's day charm, it's feels lazy, smooth and dreamy, when infact it's often frantic, heartbreaking and occasional sinister (give Holiday a listen). It's a contradiction, so many of much of their core sound is simply not new, or revolutionary, yet when they blend it all together in their own abstract manner and base it all around Erza irresistible croon we're left with a sound that is both distinct, challenging and at times shameless uncool, but never less than brilliant. Contra ultimately feels carefree, self assured and almost too beautiful, too relaxing, it's a such joy to listen to you almost drift away into your own day dream world. While Contra's off centre arrangements will continue to alienate Vampire Weekend from true mainstream dominance; they continue to make the world's best pure pop music, and Contra is a worthy successor to one of this decade's great debuts.