Two months back, Ezra Koenig and his band of players took a tiny notice out in the New York Times‘ ‘Lost & Found’, cryptically announcing the arrival of their third record. It was simultaneously cool in its quirkiness and undoubtedly contrived: pretentious, even, but charmingly understated enough to work. Scarce on details, the act itself told you everything you need to know about Vampire Weekend after seven years.

It was an example of how they’ve managed the transition from indie-pop summer fling to elite contenders. For them to survive, and thrive, past ‘Oxford Comma’ was never a given. Arriving with Ivy League educations and clad in argyle sweaters and boat shoes, the four-piece declared themselves purveyors of an ‘Upper West Side Soweto’ sound. Essentially, that meant privileged white Americans adopting afrobeat to sing about the joys of punctuation and fumbles in plush dorms. The songs, however, were expertly-crafted, infectious creations and their preppy charm and humour won the day.
Difficult second album syndrome? Contra eased up on the Graceland affectation and ushered in technology, topping the US Billboard chart. Considering their pluralist spirit, the literacy and adventure in their pop, it was a remarkable achievement.
Can they now turn Contra’s ‘hit’ status into something solid, whilst also challenging themselves sonically? Quite the balancing act, the good news is that they pull it off brilliantly.
Modern Vampires Of The City leaves the sunshine of its predecessors behind. Here Vampire Weekend are obsessed with New York by night: the aim is to capture both the meditative calm and nervy chaos of the ultimate alpha city after dark. It proves a fitting backdrop – like the band’s hometown, MVOTC is built on both forward-thinking energy and a sense of history.
Punning lead single ‘Diane Young’ is a stormer, shaking off two albums’ worth of baggage for rock ‘n’ roll 2.0. Technology and classicism merge as Koenig’s Elvis vocals warp in front of a fuzzed-up, berserk Buddy Holly tune. There’s fatalism and danger in lines like “You’ve got the luck of a Kennedy, so grab the wheel and keep on holding it tight”, before the whole thing careens off the road.
Time and mortality are the themes. The 12 tracks play out as if Koenig is singing (both directly and indirectly) for an alluring but near-hysterical love interest. With warm, soothing vocals, often blanketed in electronic effects, the essential reassurance is that they might not be in college anymore, but don’t start the midlife crisis just yet. ‘Step’ is a deep slow-burner, placing a tenderly-phrased tease of ‘What you on about?’ in a chorus that could otherwise pass for Coldplay. It is a moment of subversive greatness.
Its aesthetic catches the mood more closely than the misleading strut of ‘Diane Young’, as the band opt for keys, floating strings, percussion and the odd choral cameo. Guitars of the six-string variety are muted – the rhythm section are the star players. Chris Tomson has always been central to VW’s sound and, here, his sophisticated drumming is a marvel. Meanwhile, Chris Baio’s bass sounds transplanted from a nu-soul classic.
They enjoy reminding us of their august taste. ‘Step’ draws on Pachelbel’s ‘Canon In D’, whilst ‘Don’t Lie’ suggests all they’ve taken from The Beatles’ catalogue is the faux-harpsichord of ‘In My Life’. Baroque piano sitting on hip-hop beats? Why not?
Here and there, default-mode Vampire Weekend becomes apparent. ‘Unbelievers’ has driving power but feels jaded, ‘Finger Back’ has the manic energy of ‘A-Punk’ but lacks subtlety. ‘Hannah Hunt’, however, is a minor classic: a character piece, it contains Koenig’s finest writing to date, operating like something from The Best American Short Stories. Think prime Paul Simon playing in his study, while the bass from a rave down the road rattles the windows.
Even better again is ‘Ya Hey’: atmospheric, hopeful and anthemic, it employs chipmunk backing vocals to strangely stunning effect. The final two tracks feel like a low-key epilogue; the important work has been done.
Modern Vampires Of The City is a beautiful, inventive record worthy of plaudits and high chart placings. It is proof that indie rock doesn’t need mod revivalists or fancy haircuts with loud guitar amps to excite the kids. Three albums in, Vampire Weekend are handling this ‘progressive and popular beat combo’ thing with admirable grace and ingenuity.

Key Track: ‘Ya Hey’