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Vampire Weekend
Vampire Weekend
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Release date: 28-1-2008
Format: CD
Number of Discs: 1
Catalogue Number: XLCD318
Label: XL
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FEEL GOOD HIT OF THE SUMMER
3 October, 2008
GREAT DEBUT ALBUM WITH A FRESH AFRICAN INFLUENCED SOUND. LYRICS ARE SMART AND CATCHY, TENDS TO DIP ABIT IN QUALITY IN THE MIDDLE BUT OVERALL WELL WORTH BUYING
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LOVE IT
23 August, 2008
You either love it or you dont....
and i LOVE IT.
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Original & fresh
21 July, 2008
Nice sound, nice tracks a very good début. Fresh sound with a hint of African beat, speed & re verb.
Try it, & you'll like it. Fave tracks Blake, Cape Cod & Oxford comma. Some very strange lyrics but, the're American, so I forgive.
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Nov 2007
Describing their sound as "Upper West Side Soweto", New York City's Vampire Weekend mixes preppy, well-read indie rock with joyful, Afro-pop-inspired melodies and rhythms.
- Spin (p.91) - 4 stars out of 5 -- "Vampire Weekend have made a truly fresh, fun, and smart record....They spit witty lyrics on subjects they clearly know..."
After gaining exposure through word of mouth, internet blogs and US indie radio, New York based four piece Vampire Weekend release their self-titled debut for XL Records. Recorded at various locations including barns and friends apartments and produced by keyboardist Rostam Batmanglij, the band describe their sound as "Upper West Side Soweto" playing a unique mix of Strokes style New York indie rock mixed with African rhythms. The debut single 'Mansard Roof' is included.
Personnel: Ezra Koenig (vocals); Rostam Batmanglij (organ); Chris Baio (bass instrument); Christopher Tomson (drums).
With a novel world-music-tinged indie-rock sound drawing from reggae, classical, new wave and worldbeat, New York City's Vampire Weekend wowed audiences, bloggers, and critics long before even signing to the XL label and releasing their debut in 2008. Formed at Columbia University, the eclectic rock quartet tie together their diverse influences with a keen pop sensibility; it is a combination that has drawn comparisons with Paul Simon and the Talking Heads, and earned heavy praise from head Head David Byrne himself. While the image of trust-funders pairing African beats with songs about upper-class affectations and fripperies on songs like "Oxford Comma" sparked a minor indie-world controversy, the hubbub merely fueled the buzz for the outfit's rave-reviewed self-titled debut.
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