If Wes Anderson and Donna Tartt had ever collaborated and come up with a fictional band, it would have looked and sounded an awful lot like Vampire Weekend.
They were the weird fish in the pool that spawned the New York rock revival of the noughties, arriving in the mid-2000s looking preppy and nerdy, with polo shirts and floppy hair. While bands from The Strokes to LCD Soundsystem built their sound by rejigging and reconfiguring a post-punk world that spanned the dingy downtown rock club and the dingy downtown dance floor, Vampire Weekend were more Upper West Side and bounced sprightly ska-pop off springy Afro-pop.
The guitars were clean, sparkling and trebly. The rhythms were rickety and complex. The keyboards whistled and whirred. Ezra Koenig sang like a cross between a choirboy and David Byrne – in fact, the smart-nerd aesthetic and herky-jerky music of early Talking Heads is probably the closest comparison for what they were doing.Oxford Comma
, they became the only band to ever direct their twenty-something angst towards the use of a punctuation mark.was something of a concept album about marriage, with many songs based around more traditional song structures.
“I hope you let it go,” sings Koenig. “I hope you let it go. The enemy’s invincible. I hope you let it go.”
Source: Entertainment Trends (entertainmenttrends.net)
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