Released: 2008

Genres: Indie Pop, Chamber Pop, Baroque Pop

The Musiquarium’s Vampire Weekend Review Score: 5/5

Ever since Vampire Weekend blew up and A-Punk started appearing in all sorts of media, the band has been an easy target for detractors; the upbeat world music and adoration of Paul Simon’s Graceland coming from some preppy college boys, rubbed many people the wrong way, but you still can’t deny the musical talent and songwriting genius that these guys had right off the bat.

Mansard Roof introduces the band’s style, which is both poppy and artsy, yet highly technical. The beat-driven Oxford Comma has Ezra Koenig asking “Who gives a fuck about an oxford comma?”, though I certainly do, as I always use them in my own writing. The aforementioned A-Punk was a supermassive hit. Cape Cod Kwassa Kwassa is guided by Koenig’s impressive guitar hammer-ons and pull-offs.

The harpsichord and strings-driven M79 is both lush and elegant, like something you’d hear while the Titanic is sinking. The guitar riff in Bryn is one of the album’s best. It almost sounds like Sting (of The Police) is singing on One (Blake’s Got a New Face), though I assure you he is not; it’s also one of the few songs with any noticeable synthesizers on it. The Kids Don’t Stand a Chance is a perfect closer to the youthful optimism of the album.

Vampire Weekend is an album that clearly acknowledges its influences, but also sounds unique, with its rich, technical, posh sound, aided by Rostam Batmanglij’s incredible production. This is an accomplished debut with a fully realized identity of its own.

For credit breakdowns and historic release details, view Vampire Weekend on Discogs.

Back to the 2008 Album Guide or the Vampire Weekend Reviews page.

Written by Brett Nippard