Here, Vampire Weekend present us with an attractive fusion of African polyrhythms, electro and classical-esque styles, which amalgamate neatly with typical indie fair in this gem of an album. The African Diasporic rhythm has significant relations to the Burundi beats of Malcolm McLaren, (as well as his 80’s side-projects such as Bow Wow Wow and Adam and the Ants), which thematically continues the later decade’s indie obsession with post-punk art rock. Interestingly though, unlike many of their musical peers, Vampire Weekend have here managed to create a thoroughly modern and hip affair which is not at all nostalgic. Thoughtful, yet incredibly happy, jolly music is offered that is always (quite literally) upbeat and makes you want to smile as much as dance. Production is slick and void of gimmicks, and the use of the string-synth timbres especially is technically and aurally excellent. Yes, it could be perceived as a bit preppy - indeed the lyrics are a positive flood of university references, which can become a bit staid when considered alongside the band’s penchant for arrogance. Clearly, Vampire Weekend think they’re very bloody clever, demonstrating typical we-are-the-enlightened-just-cause-we’ve-read-a-bit-of-Deleuze-and-Guattari style student wank. Freestanding, this kind of attitude is almost unbearable – fortunately the sheer joy experienced through listening to Vampire Weekend revokes any of this exterior unpleasantness. Just let this album wash over you like an aural happy pill; it’ll chase all your cares away.
This album from girly Brooklyn trio Au Revoir Simone is wonderfully whimsical, dainty and soft, with paper thin, compressed timbres. Gentle and self-effacing, it is beyond dreamy, yet remains rhythmically upbeat and thematically buoyant, never reducing itself to melancholy or negativity. Their lyrics and vocal style have a warm innocence, commanding minor keys instead of being consumed by them. Unassumingly this album will quietly sneak up on you and steal your heart.