The Racquette

Issue date: 2/5/10 Section: A&E

Taking risk on a first record is smart because you have nothing to lose. Taking risk on the second is something to be wary of. Vampire Weekend didn't think twice about their second release. Contra is the second installment and rightfully the better of the two. It listens as if they took all the risk and jumped all over it. The new record, which dropped on January 11, hit number one on the Billboard Charts almost immediately. The last record only made its way to number 17 before falling off the charts, but for a band signed to an independent contract with XL Recordings, that's not too bad. It is not surprising that, with all the popularity over the first record, there would be a strong mainstream following for Contra.

Within the record there are a number of vastly different songs. Some of the memorable tracks are "Horchata," the opening song that sounds well above the margin within what they worked with on the debut record. "Holiday" and "White Sky" sound like potential up and coming singles, with subject matter and the instrumental sound appropriate for radio play. There are two songs on the record that deal with the usual upper-class Manhattan grind in a more exposed way: "California English" and "Diplomat's Son." The second is an M.I.A sample and one of the best songs on the record, experimenting with an afro-reggae interlude. The safest song is presumably the first single, titled "Cousins," because it not only sounds like an extension of the first record, but also doesn't sit well on the amount of instrumental experimentation that the other tracks have. It is still the Vampire Weekend trademark that this record has, with its African-beat popular influence, allowing Contra to be a Vampire Weekend record. However this one moves onto a different level far above the Self Titled. Perhaps, what is most incredible about this record is its ability to transform itself from different cultural music sounds. Mostly, I found the use of basic organic instruments, together with the computer-generated aid, appealing and successful. There should be a reasonable amount of praise for a band that can draw in various electronic samples and a few minutes later pull in hand drums. It's a lot to say for a band with such diverse musical influences, to take all of them and throw it in a studio.

In terms of its inadequacies, it's hard to pick apart something that is as much involved as Contra. The biggest upset of this release might be the awful artwork to be simply put. The photograph is a symbol of the rich white elite that reeks of Gossip Girl and Water Polo. However, much of Vampire Weekend's image lie in their physical prep school appearance. I would say that for Contra as a record, the artwork does it no justice.

All and all, Contra is a wonderful start to a new year of great music in 2010. Vampire Weekend is in a dangerous and wonderful position for being a band with immediate mainstream draw and a separate fan base who live among the "blogosphere". Vampire Weekend is forgiven of any New York City trust fund attitude because not only can they actually play their instruments, but I don't see them leaving the spotlight open to anyone else.

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