Vampire Weekend

Vampire Weekend

(XL)

Record Review by Adam McKibbin

Vampire Weekend attracted an avalanche of buzz in advance of their full-length debut, thanks to a combination of blog overexposure, steady touring and a tendency to be in the right place at the right time. No less an authority than David Byrne thinks the NYC quartet's danceable, hipster-friendly tunes recall early-era Talking Heads (he meant this as an observation, not a recrimination).

All the advance hype and subsequent backlash will probably undermine the momentum of the actual album, a debut that's largely entertaining from start to finish. Like Franz Ferdinand, Vampire Weekend suffer somewhat as expectations rise; anyone looking for something loftier than a good time will have to look elsewhere. But sharp hooks and memorable melodies abound. They're hardly the first musical pilgrims to pilfer from Afro-pop, but their execution is unusually deft, as heard on the infectious "Cape Cod Kwassa Kwassa" (which has been kicking around online for ages). The so-called "world" elements—particularly the driving percussion—work seamlessly alongside their angular guitars and snappy vocals.

In the cutthroat indie world that has romanticized Pabst Blue Ribbon and fake vintage T-shirts, Vampire Weekend's Columbia pedigrees, preppy stage presentation and numerous lyrical references to Cape Cod all seem practically antagonistic. The immensely catchy "Oxford Comma" really is about oxford commas—in some vague manner, anyway. Frontman Ezra Koening plays up the pomp, his vocals tinged with self-conscious snark. But Vampire Weekend wisely never sacrifice their charm, despite an occasional grating dud like "One (Blake's Got A New Face)." The hype got it right this time around.