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Album Review: Vampire Weekend – Modern Vampires of the City [XL]



The ship should have sailed on Vampire Weekend a long time ago. As in, the wave of backlash should have hit them right around the release of their second (and previous) album Contra in early 2010 and doomed them to a slow descent into obscurity. Yet every so often, an artist or band finds a way to rise above the fray and continue to persevere in spite of everything. Leave it to the guys with Ivy League educations to solve that puzzle and go from a debut with one hit single to a sequel with three. That’s not even mentioning all the commercial licensing they signed off on, continuing to build their “brand” of cardigans, boat shoes and balaclavas to a predominantly young, white audience. Perhaps most incredible through all this is that the quality of the music they’ve been making has dipped very little, if at all. What started out as a ferocious nod to Afropop and in many respects Paul Simon has since evolved into something darker and more considerate while still largely maintaining a giddy, indie pop vibe. Perhaps that’s the main reason why so many people love this band – they take challenging topics, difficult issues and high class living and make them into very on-the-level, non-pretentious, fun songs. One minute you’ll be bobbing your head and singing along to the chorus of a song, and the next minute you’ll hear a lyric that forces you to grab your dictionary to try and figure out exactly what frontman Ezra Koenig was getting at with that reference. You’re learning new things while you listen, and in a sense that raises the collective conscience and intelligence level for all involved. For whatever reason, Vampire Weekend are working to leave society better than when they found it, and perhaps that’s why it’s so difficult to find fault in just about everything they’re doing. Their new album Modern Vampires of the City is their strongest collection of tracks to date, but it’s also their darkest and most challenging, all of which can be seen as major positives.

Most bands like to throw a single out as the first track on their records, because it provides a nice gateway into the rest of the album. If they don’t go with a single, then it’s usually something upbeat and fun to at least put you in a good mood before moving forward. The last two Vampire Weekend albums have featured “Mansard Roof” and “Horchata” respectively, and both fit right into that traditional first track pattern. For Modern Vampires of the City, the opening song is “Obvious Bicycle,” a track that might best be described as a piano ballad. It’s not exactly a magnet of a song that sucks you in, and the lyrics make it even worse. “Oh you ought to spare your face the razor / Because no one’s gonna spare their time for you / You ought to spare the world your labor / It’s been twenty years and no one’s told the truth,” pretty much spell out deep depression and a complete mistrust of others. Yet there’s also stoicism and beauty in the way it’s composed, and the delicately harmonized, easy to remember chorus gives it a certain replay value you might not otherwise expect. The buzzy, pop-driven side of the band shows up starting with the single “Unbelievers,” certainly one of the album’s strongest moments and most addictive tracks. Yet it too features a rather dark take on things, emphasizing the idea that it can be tough today to truly figure out exactly who or what you believe in, religiously speaking and otherwise. “Girl you and I will die unbelievers, bound to the tracks of the train,” Koenig sings like there’s no escaping the fate that lies before him. There truly is no way of knowing if we’ve made the right decisions for our lives or our futures, which in many ways is crippling and could be considered a metaphorical freight train bearing down on us.

If you’re looking for a more “traditional” Vampire Weekend song, look no further than “Step,” which drops references to Angkor Wat, Dar es Salaam and Croesus amid sparkling harpsichords. Such challenging names and phrases are used in this case as more of a wink and a nod to their highly intelligent, “upper class” past rather than a legitimate attempt to go highbrow simply because they want to. The real deal behind this song is that the band borrows a couple of the main lines from the chorus from an unreleased track from the early ’90s called “Step to My Girl” by hip hop group Souls of Mischief. That track borrowed a saxophone melody from a 1972 song by Bread, which additionally Vampire Weekend also recreated with the harpsichord for this song. It’s fascinating how it all came together, and how the worlds of hip hop, smooth jazz and rock music from the past intersect via what sounds like a completely original and modern track. With that kind of history, maybe that is just a little more pretentious and challenging than it might otherwise appear. Similar things can be said for first single “Diane Young,” because while it is a whirlwind, roller coaster of a fun song complete with purposely goofy vocal modulations, there’s deeper meaning below the giddy surface. The subject matter is death, and the song title isn’t so much about a girl as it is, like the vocals, a slight modification of the more common expression, “dying young.” The lyrics support it, particularly with a reference to the Kennedy family, who are known for dying young. The music video also supports the idea, with a Last Supper-like scenario involving Jesus, who of course reportedly died at age 33.

Yet “Diane Young” also speaks to one of the overarching themes of Modern Vampires of the City, which is more about time running out on you than it is actual, physical death. Sure, death is certainly one of the possibilities of things to happen when the clock reaches zero, but it’s equally important to look at where the band is at in their personal lives. At the moment, they’re right at the border of what some might designate as “adulthood,” and all the “responsibilities” that come along with that. While there is no official hard line in the sand definition of what constitutes an adult, the ideas of getting married and starting a family certainly get wrapped up in that. In your own way, when you become an adult it marks the death of your youth, because there are new challenges and people to worry about and care for, taking away those times of freedom when you could do anything (…or anyone) you wanted to. Instead of staying out at some bar until 3 a.m. on a weeknight and showing up to work hungover a few hours later, you’re in bed by 11 and have to get up again at 4 because the baby is crying. The track “Don’t Lie” is actually all about that idea, and the quest to get in all the crazy and fun experiences you want to before making a full commitment to another person. “Young bloods can’t be settling down,” Koenig sings early on, but he’s also in love with a girl and feels just about ready to make that leap. The lines, “It’s the last time running through snow / Cause the fire can’t last and the winter’s cold,” speak to the need for love between two people, which should be fully appreciated, lest it be extinguished and you’re left alone in a harsh and loveless environment.

This path towards adulthood truly reaches its peak with the centerpiece of the record, “Hannah Hunt.” In many ways it seems like Vampire Weekend’s own maturity as a band gets unveiled in this track, like it’s something they’ve been purposely building towards for the last few years. Within this single ballad contains a multitude of sonic and textural innovations while the the lyrics and especially Koenig’s vocals overflow with emotion in a rousing and powerful way. The story line is a familiar one, in the sense that this could well be picking up on the lives of two characters we’ve spent time with previously in other Vampire Weekend songs on other albums. Here they’ve made the decision to escape from their own lives and hit the road to drive across the country in the hopes of starting over fresh. You may recognize this inclination as a more literal version of trying to outrun adulthood and other responsibilities that life hands us. Along the journey, this couple meets a gardener who talks about how plants move as they grow, and a man of faith who tries but fails to instill the narrator with a sense of personal accountability. Yet the real focus here is between these two people, our narrator and Hannah Hunt. Though their trip starts out promising enough, by the second verse of the song their relationship has grown cold, like the freezing beaches of Providence, Rhode Island which Hannah says she misses now that they’re on the opposite side of the country. And while the narrator wanders off to buy kindling for a fire, aka an attempt to get the flames of passion burning once more, Hannah chooses to burn a copy of the New York Times instead. The frustration builds, and eventually explodes outwards in the final 90 seconds of the song, going from a slow and meditative ballad to a soaring and gorgeous crescendo. Koenig’s voice follows suit, and he yells the chorus with such force you can almost hear tears rolling down his face: “If I can’t trust you then damn it, Hannah / There’s no future / There’s no answer / Though we live on the U.S. dollar / You and me, we got our own sense (cents?) of time.” It’s as harrowing as it is beautiful, and for those four minutes, that fictional clock through which we count the seconds and watch the hours stops completely.

While there are a few (perhaps arguably so, depending on personal interpretation) religious references in the first half of Modern Vampires of the City, it’s on the second half of the record where religion really come into topical focus. “I took your counsel and came to ruin / Leave me to myself, leave me to myself,” Koenig gripes at the start of “Everlasting Arms.” The song title itself alludes to the old hymn “Leaning on Everlasting Arms,” which is about the Day of Judgment. In his own way, Koenig spends the song passing judgment on God, trying to break off that relationship because it has caused him nothing but pain and suffering. An even greater indictment shows up on “Worship You,” which asks whether or not God deserves the love and praise given to him around the globe. There are references made to God’s “red right hand,” which play on the phrase of getting caught red-handed, implying guilt and wrongdoing. There’s also a political angle to the track, primarily dealing with the Middle East and Israel and the supposed protection offered to the Holy Land. “Finger Back” deals with similar issues, though the focus in this case is more on the cycle of violence in the region and how religion is the main reason for many conflicts. That also ties into the sharply depressing but stylistically intriguing penultimate track “Hudson,” which uses the historical context of explorer Henry Hudson and his death as a springboard to envision a post-apocalyptic New York hellscape in the years following the nuclear holocaust that is World War III.

Looking solely at the lyrics on Modern Vampires of the City and attempting to delve into the meanings and intentions behind the songs can make everything seem like a truly depressing march through sludge. The themes are dark and unpleasant, from the ticking clock of youth and life running towards its ultimate finish to the anger towards God and religion, and you might expect the music itself to match those tones. Yet that’s not the case by any means. The band has come a long way from their debut, but they haven’t lost their ability to write compelling melodies and hooks that grab your ear and refuse to let go. Listen to this album enough and you’ll find that a different track stands out each time, even some of the slower ones like “Ya Hey” and “Step” will give you a reason to keep coming back for more. A very lyrically bleak song like “Finger Back” is only dark and depressing if you can fully comprehend what’s being sung about, and Koenig’s rapid fire vocal delivery paired with a bouncy melody seem to suggest upbeat pop more than anything else. And that’s really the crux of this record as a whole: it deals with a lot of heavy issues, but always with a little wink and a nod to let you know that it’s not all bad. That sense of relatability and inclusiveness which gets developed while also ushering in a new found maturity makes this Vampire Weekend’s strongest effort to date. For a band that spends so much time on this record worrying about getting older and the proverbial deaths that go along with it, there’s a terrific amount of irony in the fact that they’re only getting better with age. It’s certainly something most other artists should look at with envy.

Watch the video for “Diane Young”
Watch the lyrics video for “Ya Hey”
Watch the lyrics video for “Step”

Buy Modern Vampires of the City from Amazon

Album Review: Givers – In Light [Glassnote]


When properly structured, there are some records that automatically put you in a good mood. You could be having a seriously bad day, but find some time, throw on some headphones and a great album can transport you to a place of solace and comfort, both warming you with its embrace while also providing you with plenty of reason to smile. Matt & Kim are indie rock’s “first couple” when it comes to overzealous, super happy music, to the point where you’re often left doubting that any single person, let alone two people, could ever be THAT happy THAT much. Similarly, the early days of Los Campesinos! featured the English collective with their high energy pop songs and excessive use of the glockenspiel, and so many fell in love with that side of their personality, even if they’ve since branched out and gone a bit darker/heavier/slower recently. Among the many ways of describing such a feeling that this sort of music gives you, joyous and celebratory are two great adjectives to use. When it comes to 2011, particularly summer 2011, the band that should be on everyone’s smiling lips is Givers. Their debut album “In Light” is very much as the title describes, not to mention their cover art shows – a massive bright spot shines amidst a collection of stars and other space elements. Yes my friends, if you’re in need of a serious pick-me-up, here it is.

In the first 4.5 minutes of “In Light”, which amounts to the opening track and first single “Up Up Up”, there’s a whole host of instruments that show up and almost as quickly disappear in the mix to the point where if you blink you’ll miss them. The standard guitars and drums are just the beginning, and everything from handclaps to shakers to xylophones, keyboards and flutes all make an appearance at one point or another. The ultimate result shares a lot of qualities with Afropop, in that the moments the song settles into a groove you can easily imagine Vampire Weekend or Paul Simon trying the same thing. But the great part about the track is how it transcends that easier definition by throwing curveballs at you. Call it a hybrid between a number of different pop styles and then throw some seriously great vocal harmonies between Taylor Guarisco and Tiffany Lamson for an increased sense of beauty. So it’s complicated, beautiful AND fun? It’s one of the big reasons why Givers are a band to keep a close eye on. What makes this record even better is how the band continues to play with sounds and genres without firmly ascribing to any of them. They never stay in one place for too long, and it’s that inability to figure out exactly where they’ll go next that makes them so damn fascinating. That and their constant energy matched with some heavily catchy choruses makes for some stellar party music. One could argue that the sheer exuberance of this record and how Givers doesn’t really ever slow down until the second-to-last track is a problem, but since when is having too much enthusiasm detrimental? If anything, it’s impressive they’re able to keep it up for so long. You’ll likely get tired before they will, which is probably why some will take the band to task for that.

The way that Givers first began to get notice was when they opened a 2009 show in their home state of Louisiana for heroes of theirs, Dirty Projectors. If you find the obtuse charm of Dirty Projectors to be a little too strange for your taste, “In Light” is like an easier on the ears version of much of that band’s catalogue. You can especially hear it in the finger-picked electric guitar work on a track like “Noche Nada”, which in spots mimics Dave Longstreth’s best moments. The Dirty Projectors crew liked Givers so much based on that one show, they would eventually ask the band to join them for an east coast tour a few months later. They haven’t really stopped since then, and it’s almost a wonder that there was time to actually record “In Light”, for which they recruited producer Ben Allen, who is notable for working with Animal Collective and Deerhunter, among others. A big part of why Givers rarely take a break from touring is how easily they win over crowds. They’ve been raved about at SXSW and a whole host of other places, based primarily at the time on only having released a self-titled EP. Now that their full length is out, expect not just a lot more dates but for the crowds to continue to grow larger and larger. So much about “In Light” suggests that Givers are destined for not just big but HUGE things, which is why it would behoove you to start paying attention now, if you haven’t been already. The weather’s warm, the beaches are open, and this album wants to be your soundtrack. Between this and the self-titled debut from Cults, you’re not going to find two bands better equipped to entertain you for the season, if not the rest of 2011.

Buy “In Light” from Amazon

Show Review: Paul Simon [Vic Theatre; Chicago; 5/16/11]

Much like Bob Dylan, Neil Young and even Jimmy Buffett, Paul Simon is one of those musicians worthy of the label “national treasure”. The guy has been making music for nearly 50 years now, first with his good friend Art Garfunkel and then on his own for much longer. There are so many legendary songs that you would most definitely recognize even if you didn’t consider yourself a Paul Simon fan, and he’s even largely credited with starting the musical movement known as Afropop. A band like Vampire Weekend wouldn’t exist today, or at the very least would sound completely different, if Simon and Afropop did not find one another. It’s also fascinating that he’s continued to endure all this time, because while the songs he writes and puts together are typically strong, his own vocals aren’t exactly a selling point. That’s not to call him a terrible singer, it’s more that you’d think Garfunkel would have been the one to hit it big in their duo. What’s written is written though, and we’ve gotten so many great and just delightful songs from Simon over the years. But as with any musician who’s been playing for most of their lives, the last decade or two has seen a significant slow down in progress. It’s been 5 years since his last album “Surprise” came out, and that was after a 6 year gap following “You’re the One”. But if you’ve been paying a reasonable amount of attention to the music scene in the last several weeks, or you just watched the last episode of “Saturday Night Live”, you’d know Simon put out his latest album “So Beautiful or So What” last month. It earned the sort of moderate applause you give to a national treasure, where respect comes first before an truly honest assessment of the music. Really though, it’s not a bad album by any means. In support of said new record, Simon and his 8-man wild cultural mix of a band set out on tour, which includes two stops in Chicago – one at the historic Chicago Theatre, and the other at the remarkably tiny and somewhat intimate Vic Theatre. To see him perform in a stadium or at a music festival is a treat unto itself, but at a 1,000 capacity venue is something truly special.

Setting the scene, after a weekend filled with rain and temperatures that were close to 30 degrees below normal, the sun came out to play but was on the verge of retiring on Monday evening as crowds gathered in front of The Vic in preparation for the sold out Paul Simon show. Shortly after the 8pm listed start time, the house lights went down, the spotlights went up, and the band emerged to thundrous cheering. Starting strong and with something recognizable is always a plus, and Simon did not disappoint with the positively lovely “The Boy in the Bubble” off the “Graceland” record. Light and airy and with an accordion-fueled energy, the dancing began right away for much of the audience. The one big thing you learn from listening to Paul Simon’s catalogue is that despite being credited for Afropop, that’s by no means the only style of music he plays. He, along with his band, are citizens of the world, and the live show is very reflective of that. What really binds us all together no matter where you’re from is rhythm, and so you can bounce from the African beats of “Dazzling Blue” off his latest record into a more funky folk of “50 Ways to Leave Your Lover” before running into reggae in a wild combination platter of Jimmy Cliff’s “Vietnam” and Simon’s own “Mother and Child Reunion”. From there it was a trip to Creole country courtesy of “That Was Your Mother”. Outside of a couple early set highlights, the biggest chunks of pure greatness in the set came closer to the end. “Diamonds on the Soles of Her Shoes” began completely a capella, as it does on the original “Graceland” version, but the end of the song, which featured a drummer face-off between Jamey Haddad and Jim Oblon, was where things really ran into the highly exceptional category.

At the start of the first encore, Paul Simon returned to the stage by himself, a spotlight the only thing illuminating the stage. He picked up his acoustic guitar and belted out a soulful, mournful version of the Simon & Garfunkel classic “The Sound of Silence”. Knowingly, 99% of the crowd became so quiet you could hear a pin drop. The two people that “Woo-ed” early in the song were quickly shut up. It became the most intimate moment of the entire evening, just a man and his guitar. I’d like to think that everybody paying strict attention during those few minutes felt a connection, as if the song was being performed for you and only you. Surely the smaller venue helped in that regard, as watching a tiny man from a balcony probably doesn’t have the same effect. But that was the real goosebump moment of the show, and honestly, I wasn’t the least bit bothered that nobody stepped in to try and recreate Garfunkel’s vocal harmonies on the song. After not hearing a whole lot of singing along for much of the set, it was a little surprising to me that “Kodachrome” was when people started to pipe up. It was kind of a party from that point onwards though, with some nice excitement when Simon whipped out a rendition of The Beatles classic “Here Comes the Sun” leading into one of his best and most popular tracks, “Late in the Evening”. The crowd had clearly not had enough after nearly two hours and a 5 song encore, so after exiting again, the band returned one last time for “Crazy Love, Vol. II”. There was more singing and more dancing and smiles abound. Prior to walking off the stage for the final time that night, Simon took a moment to give appropriate kudos to his band and introduce them one by one. Not enough performers do that these days, and the way they all embraced one another made it very clear they’re all like family to one another. A 9 man, multicultural family. For two hours on a Monday night, they let us sit in on one of their family gatherings. One can only hope they do something like that again real soon.

Click on “Read More” below to stream the entire new album “So Beautiful or So What”

Buy “So Beautiful or So What” from Amazon

Set List
The Boy in the Bubble
Dazzling Blue
50 Ways to Leave Your Lover
So Beautiful or So What
Vietnam (Jimmy Cliff cover)
Mother and Child Reunion
That Was Your Mother
Hearts and Bones
Mystery Train/Wheels (Junior Parker cover)
Slip Slidin’ Away
Rewrite
Peace Like A River
The Obvious Child
The Only Living Boy in New York (Simon & Garfunkel song)
The Cool, Cool River
Getting Ready for Christmas Day
Diamonds on the Soles of Her Shoes
Gumboots
\\**ENCORE**//
The Sound of Silence (performed solo; Simon & Garfunkel song)
Kodachrome
Gone at Last
Here Comes the Sun (Beatles cover)
Late in tne Evening
\\**ENCORE 2**//
Crazy Love, Vol. II

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