Album Review: The Ghost of a Saber Tooth Tiger, ‘Midnight Sun’

Sean Lennon and Charlotte Kemp Muhl

Sean Lennon and Charlotte Kemp Muhl

 

 

Music is one of the only fields where we hold the sins, or saintliness, of the father against the son. Sean Lennon has had it both a lot harder, and a lot easier, than most musicians over the years. His second release as the Ghost of a Saber Tooth Tiger, his group with his girlfriend Charlotte Kemp Muhl, should lend credence to both the misgivings of critics and the joy of fans. In short, there’s a lot of Lennonesque psychedelia going on here, the “Tomorrow Never Knows”-style backward guitars and Eastern tones of “Xanadu” in particular. “Too Deep” sounds like Oasis doing their Beatles shtick. But on the title track, where Muhl takes a more prominent vocal role, the song’s sitar-funk sounds like a Mod-era soundtrack to a car chase. “Golden Earrings” is a meandering, pensive slice of cinematic psychedelia, while “Great Expectations” is a descent into the watery abyss. It’s an accomplished, enjoyable record from start to finish, regardless of references or lineage. (Out Today)

 

ESSENTIAL “Xanadu”

The Ghost of a Saber Tooth Tiger performs at Brighton Music Hall on June 7.

 

Watch: LAMB OF GOD “Vigil” music video premiere – A True Gem!

The song, ‘Vigil’ is one of LoG’s most iconic tracks and was featured on the album As The Palaces Burn which was recently released digitally remastered to celebrate it’s 10th anniversary.  The remastering has done wonders for this song, and it rocks every bit as much as it did when the album was released. Here’s to some nostalgic headbanging. You can check the video out below:

About the Album:
As the Palaces Burn is the third studio album by American groove metal band Lamb of God, released under Prosthetic Records in 2003. As the Palaces Burn received considerably more airplay than their previous effort, with three singles. The album was produced by Lamb of God and Devin Townsend. The album has sold around 250,000 copies in the United States. The band are releasing a 10th anniversary edition of the album this on November 2013, with remixed and remastered tracks, including bonus demo tracks.

Their second album, “As the Palaces Burn”, is a brutal barrage that pulls no punches and pummels the listener’s ear drums. With its impenetrable wall of sound, killer double bass drumming, fiery guitar work and an occasional guitar solo, this album should be any and every metalhead’s dream.

The band didn’t make this album on a major record label, so there isn’t a big production job. Thus, singer Randy Blythe’s voice and Chris Adler’s drums are more raw than on their next release, “Ashes of the Wake.” It’s up for debate whether that’s a good thing or not, but there’s no denying that Blythe’s yell/growl goes great with the background music.

Due to the production, Blythe’s vocals take a back seat to the guitars and drums. Drummer Chris Adler is at the root of Lamb of God’s attack. He makes the beat a big, relentless wave which gets shoved down the listener’s throat. But he sometimes creates breakdowns that change the beat (to a usually slower and heavier one). Sometimes, when listening to this album, I could have sworn Adler wasn’t beating his drums, but beating the outside of my headphones. Adler’s persistent double bass drumming (which is usually a death metal blast beat or machine gun attack) and Blythe’s Cookie Monster vocals make Lamb of God stand out from other “New Wave of Metal” bands.

“Ruin” is a good representation of Lamb of God: super aggressive, hard hitting and raw. It has a “ba boom boom” beat with pounding drums and Blythe shrieks like he’s being stabbed. There’s a breakdown in the middle of the song (following the guitar solo), making a bobbing beat with bobbing guitars. It ends with another mini solo and a small explosion sound.

“Purified” features guest guitar work by ex-Megadeth axeman Chris Poland. The solo he lays down here is good, but I would have definitely liked it more if it were longer.

“11th Hour” is the lead single and a personal favorite. The whole song is catchy, but I like it when Blythe bellows over just the double bass (no other instruments). Also, this song has GREAT give-and-take between the guitars and drums. After this part, it turns to Pantera-style riffing.

“Boot Scraper” begins with cascading (almost machine gun) riffs and drums, but my favorite part of this song is pounding double bass solo. Adler must have had bricks attached to his feet when he was playing this part.

“A Devil in God’s Country” is almost mind boggling (with rapid, back-and-forth guitar and drum work).

“Blood Junkie” begins with an almost inaudible spoken word, but the vocals gain volume as the song progresses. This track is a highlight because it has (1,2,3,) 4 beat changes and heavy breakdowns. Part of this song has bobbing riffs.

“As the Palaces Burn”  is a contagious album,  there should be nothing to deter you from checking this album out if you love metal or thrash or the “New Wave of American Heavy Metal” scene. Or, if you are just tired of hearing such bands as Nickelback or other wimpy modern rock bands that control the radio’s airwaves, Lamb of God should be your dream come true.

Track listing:

All songs written and composed by Lamb of God.

No. Title Length
1. “Ruin” 3:55
2. “As the Palaces Burn” 2:24
3. “Purified” 3:11
4. “11th Hour” 3:44
5. “For Your Malice” 3:43
6. “Boot Scraper” 4:34
7. “A Devil in God’s Country” 3:16
8. “In Defense of Our Good Name” 4:13
9. “Blood Junkie” 4:23
10. “Vigil” 4:42
Total length:
38:06
10th Anniversary bonus tracks
No. Title Length
11. “Ruin” (demo)
12. “As the Palaces Burn” (demo)
13. “Blood Junkie” (demo)

Personnel:

Lamb of God
Additional musicians
Personnel
  • Devin Townsend – production, engineering
  • Shaun Thingvold – mixing
  • Louie Teran – mastering
  • Carla Lewis, Dan Kearley, Dennis Solomon, Grant Rutledge, Scott Cooke – assistant engineers
  • Petar Sardelich – engineer for Chris Poland
  • K3N – artwork
  • Adam Wentworth – picture disc artwork redesign

Here is a look at the documentary that comes with the 10th anniversary edition of As The Palaces Burn, featuring interviews with the band, and producer Devin Townsend and other people involved in the process.  Pre-order the album here.

Metal Injection are giving away A Pair of Tickets to Each Stop of the LAMB OF GOD, Tour!

Enter to win tickets: Metal Injection

Angst Endures for a Pioneer of Grunge [Lightning Bolt album review]

Tiago Canhoto/European Pressphoto Agency.   Eddie Vedder of Pearl Jam, which is releasing its 10th studio album today.

Tiago Canhoto/European Pressphoto Agency.
Eddie Vedder of Pearl Jam, which is releasing its 10th studio album today.

By JON PARELES, NATE CHINEN and BEN RATLIFF
Published: October 14, 2013
The New York Times

“All the demons used to come round,” Eddie Vedder sings in “Future Days,” the ballad that closes “Lightning Bolt,” Pearl Jam’s 10th studio album. “I’m grateful now they’ve left.” Well, not entirely: Pearl Jam still needs something to brood about.

“Lightning Bolt” (Monkeywrench) is Pearl Jam’s current answer to the open question of how to create honest rock as a grown-up. The music that has made Pearl Jam an arena headliner for two decades, with a huge and loyal following, is based on churning and seething, on Mr. Vedder’s mournfully forthright voice and on tensions that often explode into choruses of desperate affirmation. With songs about self-doubt, loss, abusive relationships and political fury, Pearl Jam nevertheless turned out to be the one stable band (give or take a drummer) among the major pioneers of grunge; its members have prospered and settled down.

But complacency would undermine Pearl Jam’s music. So Mr. Vedder continues to ponder and agonize: this time, often, over mortality and faith. “Go to Heaven, that’s swell/ How you like your living in Hell?,” he taunts in the punky “Mind Your Manners.” He warns humanity against arrogance and shortsightedness in “Infallible,” as the music hints at the Beatles’s “Magical Mystery Tour.” The eerie, gorgeous “Pendulum” suspends Mr. Vedder’s voice amid echoing keyboards and guitar as he sings about looming despair. But he also finds euphoria, a oneness with Nature and spirit, as major chords peal all around him in “Swallowed Whole.”

“Lightning Bolt” is not as raw or reckless as the music Pearl Jam made in the 1990s; it also trades away the rough-and-ready sound of Pearl Jam’s previous album, “Backspacer” from 2009. With the producer Brendan O’Brien, Pearl Jam now offers some of the most unrepentantly pretty arrangements in the band’s entire catalog; “Sirens,” an apologetic love song that also warns, “We live our lives with death over our shoulders,” has the sheen of “Hotel California.”

Whether he’s singing a ballad or a rocker, Mr. Vedder carefully outlines the melodies, no matter how worked up he gets (and he does). Even when the music goes hurtling forward in hard-riffing songs like “Getaway,” “My Father’s Son” and the album’s peak, “Lightning Bolt” itself, what comes across is the teamwork of musicians who have been working in tandem for decades. They’re grown-ups with fewer demons and more polish, but they’re still pushing themselves.

MGMT’s new self-titled album: A journey beyond ordinary you’ve never been on before

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Music is a higher art and not just about topical songs. For me, it’s about sound and having a transcendental experience through sound, and I think words can sometimes get in the way of that if they’re too literal. ~ Ben Goldwasser

MGMT Album – Columbia Records

In their years at Wesleyan University, Ben Goldwasser and Andrew VanWyngarden soon focused on experimental music.  They even played a few experimental operas of Anthony Braxton.   Experimental music has been an important influence for Ben Goldwasser and Andrew VanWyngarden ignored by the press.

Speaking to Electronic Beats, Andrew VanWyngarden remarked:  “Yeah, the scene at Wesleyan was pretty big, and it certainly influenced us, but in a way where we would be in these classes and, well, sometimes it would be really cool and other times it would just get really painful about how academic the approach would be,”   It was so much more of the concept over anything else. That’s why our early shows and approaches to live performance were drawing on experimentation in sort of a tongue-in-cheek way—a parody almost. “‘

In an interview with American Songwriter published on November 8, 2010, VanWyngarden and Goldwasser said their third album will be self-titled, and that “usually if we say something and it gets published, we stick to it. That’s what happened with Congratulations.” Regarding the content of the album, Goldwasser said “Something that’d be fun to do is have a decent number of songs on the album that can easily be extended or have sections that could turn into a really trance-y, repetitive thing live.”

On January 26, 2012 MGMT confirmed in an interview with Gibby Haynes of Butthole Surfers in the inaugural issue of Intercourse Magazine that they had started work on the album. VanWyngarden stated that he has written five songs, inspired by R.E.M..   On February 27, the band began recording the album at Tarbox Road Studios with producer Dave Fridmann.

On January 29, 2013, the band told Rolling Stone that they “are not trying to make music that everyone understands the first time they hear it.”

Later in June,  MGMT revealed via their website that the album was due for release on September 17, 2013.  The band released their full album MGMT prematurely via twitter on September 9 saying they had a “surprise”. Days before its official release, was made pre-release of the album in the service Rdio.

MGMT is the self-titled third album by American psychedelic rock band MGMT released on September 17, 2013.   The album delivers a brand-new sound that celebrates liberated consciousness as they ditch any remnants of creative boundaries. The music awakens feelings and emotions of worry and insecurity — but also of determination, and even optimism –,  that people have to deal with when the future is equally uncertain at all times these days.  As such, they have produced an album with a variety of unique visual elements to accompany and illuminate the new music via “The Optimizer”, which provides listeners a simultaneously aural and optical listening experience featuring video and CGI work.  MGMT is an intricate and vital album that will prove itself in time to be the gift that keeps on giving.

“I don’t think this album is dark or depressing. It’s reality. It’s about freaking yourself out in a good way and getting more real. It’s not about “Everything sucks.  We’re all going to make things better and become better people if we confront those lies,”  Goldwasser said in an interview.

Discussing the album’s two sides, Ben Goldwasser told Electronic Beats: “Actually, a lot of the music on the second half of this album has no harmonic structure at all. It’s just so many layers on top of each other and a lot of things tonally that won’t fit together in a traditional sense. But that’s been done before. I suppose “Astromancy” has ended up being my favorite song, which is the one we finished last. It’s a song where nothing fits together and there’s all sorts of space in between the sounds, which disallows you to concentrate on a single thing. All of the sonic elements appear to be trying to divert your attention. I think it invites a different way of listening. ”

All you possibly need to know about MGMT and their music is in this comment by Ben Goldwasser: “I think a lot of musicians I talk to these days are way too concerned with the commercial side of things and how to market themselves when they should just be making music and not be worrying about outside influences and what people think of what they’re doing.  Especially since ‘Congratulations’ and all the backlash from people who thought we were one thing and they were wrong, we’ve just kind of learned to not try to explain ourselves too much or to correct people. It’s pop music. It’s pop culture. It’s a stupid world in a lot of ways but it’s still fun to be a part of and deconstruct. “

Track listing

All lyrics written by Andrew VanWyngarden, all music composed by Andrew VanWyngarden and Ben Goldwasser except where listed.

MGMT
No. Title Length
1. Alien Days 5:09
2. “Cool Song No. 2” 4:01
3. “Mystery Disease” 4:08
4. “Introspection” (Faine Jade cover) 4:22
5. Your Life is a Lie 2:06
6. “A Good Sadness” 4:48
7. “Astro-Mancy” 5:11
8. “I Love You Too, Death” 5:50
9. “Plenty of Girls in the Sea” 3:04
10. “An Orphan of Fortune” 5:31
Total length:
44:10

Pop Act Haim’s ‘Days Are Gone’ Album Reviewed

Haim = Meh

2013HAIM-DaysAreGone0050813

The only thing you probably need to know about Haim and their new album, Days Are Gone, is the first note I wrote about the music in the first part of the first song that I made during my first listen-through: “Music… for… moms.”

Haim is comprised of three Jewish ‘hip’ sisters from the valley, Alana (21), Danielle (24) and Este (27) (and some random dude who rarely appear in press photos.). It seems as though nothing can be written in the perpetual music hype machine without at least mentioning that angle; which in and of itself should be a warning sign that the music is not interesting or good enough to stand on its own without some sort of sideshow schtick (Yiddish, a little; a piece). Well, surprise, surprise, surprise… the music is not interesting or good enough to stand on its own. It can be pleasant enough if you can put up with some of the dumb lyrics. But the bargain bins of record stores everywhere are littered with the bones of bands that were ‘pleasant enough.’ Haim are destined for a future soundtracking CW shows, underperforming teen comedies, and shoe commercials.

Meantime the group is honored to have met UK Prime Minister David Cameron, Pharrell, Stevie Nicks, Rihanna And Beyoncé. (“I did pee my pants a little when I met her,” Alana later confessed online.) And Jay Z [rapper/producer/promoter/entrepreneur] who is now technically their boss. The pop act now find themselves under Jay Z’s corporate umbrella when their manager, Jon Lieberberg, signed with Roc Nation.

“We met him the first time at some random party or something, basically with our heads down because we’re like, ‘We’re so fucking not worthy,'” recalls Alana, who’s wearing heart-shaped Mrs. Carter decals on her neon-peach fingernails at Made in America, cosmetic art chosen in honor of Queen B’s headlining performance later that night. “He was like, ‘Oh my God, High-im, I love you guys!’ We were like, ‘What? He was like, ‘I’m so excited that you guys are in the company, we’re so excited for you guys, we love you guys.’ It was like a moment when I’m like, ‘I’m totally dreaming.'”

Perhaps you might think I’m being too harsh. Perhaps you’re right. But let’s take a look at the second single from the album. This is what they’re leading off with on their website, replete with a cutesy video. Meanwhile, the only difference between this song and a Shania Twain track is a wardrobe purchased from Urban Outfitters.

The rest of the album is offensive in that it does nothing to provoke us as the listener; no feathers are ruffled, no status quos are challenged. What we are left with is a disc full of songs synthesized to a syrupy goo that is wholly radio-ready and wholly interchangeable. Make no mistake: songs will chart and die a very, very slow death on pop radio.

Haim: “Julian Casablancas [founder and frontman of The Strokes]  told us to disappear and come back in a year with better songs.”  The Strokes singer gave the sister trio the sound advice when the group opened for him during his solo shows, in which Danielle Haim also played in his backing band. Speaking to The Guardian, Danielle said: “Julian told us: disappear, come back in one year with stronger songs and hit the ground running.”

The other single, “Falling” shows a little more creativity than the average pop song. It’s a relatively fun jaunt compared to the rest of the album and it shows off their Wilson Phillips-y harmonies. It is also twice as long as it needs to be and is such a muted saccharine that it will wear thin after a handful of spins:

I dare you to tell me I’m wrong:

Part of the reason the wait for this debut album has seemed so long is that Este, Danielle and Alana hit the jackpot relatively early. They won young people over with their debut EP ‘Forever’ and some rapturously received performances at 2012’s SXSW. “Their label, Polydor, no doubt sensing they might have hit the jackpot too, wheeled in big-shot producers Ariel Rechtshaid (Major Lazer, Vampire Weekend, Usher) and James Ford (Arctic Monkeys, Florence + The Machine, Simian Mobile Disco), who added more bells and whistles than you’ll find in the Hamleys window display at Christmas,” writes NME. By the time Haim released their big summer single, ‘The Wire’, it had mutated into a hammy slice of country-pop, complete with string section and Auto-Tuned coda. Puzzled bloggers noted that it sounded like Shania Twain.

Haim are no strangers to pop’s transformative powers, nor to the heavy-handed approach of major record labels. The three sisters were first enlisted by their mum and dad to play classic rock and Motown covers in the family band at children’s hospitals and deli stores at their home in the San Fernando Valley. When Danielle and Este were scouted to play in manufactured girl group Valli Girls, they were prescribed hair extensions and caricature personalities and made to play teen-pop (see the toe-curling videos on YouTube).

Now, they are transformed. Haim’s music is straight power pop. The thundering drums on ‘Running If You Call My Name’ is totally Phil Collins, while ‘If I Could Change Your Mind’, written by James Ford, is adorned with the kind of glistening synths that wouldn’t be out of place on a Whitney Houston record.

The rat pack of the music industry has been salivating and doing their weasel wiener dance (insert Redfoo from LMFAO’s “wiggle dance”) over this group. But in reality nothing on this album seems genuine in the least, there are some pleasant moments… much in the same way that a credit card commercial can make you smirk. I have a hard time believing that any artist could follow their muse to this sort of a sonic conclusion; if they’re not at least 25% money-motivated or manufactured by a manager/label/marketing company/department store, then I don’t want to live in this world anymore.

Have a nice day!

Stream Queens Of The Stone Age ‘Like Clockwork’

queensoftheStoneAge

Photo: Danny North

Queens of the Stone Age have made their new album . . . Like Clockwork available to stream in its entirety on iTunes a week before it’s June 4th release on Matador.

Queens Of The Stone Age – ‘Like Clockwork’
Album review by Leonie Cooper

Release Date: June 3, 2013
Producer: Josh Homme
Label: Matador

Josh Homme and his all-star pals prove the virtue of taking your sweet time on a record that’s as self-assured as it is damn sexy. Most bands don’t leave their fans waiting six long years for a new album. They don’t then promote said record by getting a creepy robot to leave their fans unsettling voicemails. And they definitely don’t enlist a chef to write the album notes. But Queens Of The Stone Age aren’t most bands. As badass menu maverick Anthony Bourdain says in ‘…Like Clockwork’’s accompanying bumf: “[Josh] Homme has consistently demonstrated a business plan of not giving a shit.” The heroic frontman and kingpin of these desert titans might not care about industry whys and wherefores, but Josh Homme gives every single last fuck when it comes to crafting blow-your-mind-and-incinerate-your-crotch rock’n’roll.

As contemporary hard-as-nails guitar music’s most imposing figure – and not just because he stands at 6 foot 4, has a fondness for triple denim and looks like a pre-Raphaelite, Triumph-straddling Elvis – Josh has earned the right to do what the hell he wants. Thankfully, that’s gathering his world-beating buddies in his Pink Duck studio in LA and laying down an unrelenting juggernaut.

qotsa-260x260Much has been made already of the high-end guests. The core collaborators from QOTSA’s classic ‘Songs For The Deaf’ are scattered across the release, Josh once again motoring across the crest of Dave Grohl’s brutal drums with Mark Lanegan and Nick Oliveri popping up briefly to ride sidecar. Then there’s turns from Arctic Monkey Alex Turner, Scissor Sister Jake Shears, Nine Inch Nail Trent Reznor and, bafflingly, brilliantly, Sir Elton John. Not that you’d know any of this unless you were told. Their restrained assistance means there’s no danger of this turning into a sprawling, unfocused ‘Josh and friends’ record.

Considering their lengthy absence, to return with a double album would have been more than acceptable, but ‘…Like Clockwork’ comes in at a mere 10 tracks. The crap filter has been whacked up to 11 and the groove-o-tron set to interstellar for the band’s slickest offering to date. Al Turner slinks through the saloon doors for ‘If I Had A Tail’, a track predatory enough to warrant a restraining order. “I wanna suck/I wanna lick/
I wanna cry/I wanna spit”, growls Josh, against a grimy strip-bar swagger. It’s the perv-funk sound of drunkenly sinking into sticky leather couches for steamy make-out sessions in dimly lit Hollywood smut-pits.

The same filthy feeling abounds on the ferocious but perfectly polished ‘Smooth Sailing’. “I’m in flagrante/In every way”, confesses Josh, before adding, almost as an afterthought, “I blow my load over the status quo”. Quite. Yet there’s also a more meditative flipside to ‘…Like Clockwork’. ‘The Vampyre Of Time And Memory’ is a startlingly low-key piano hymnal, even with its flashes of Giorgio Moroder synths and cocaine-soul guitar solo. Its confessional lyrics, set against a twisted power ballad melody, come on like an even more fucked-up Fleetwood Mac. “Does anyone ever get this right?/I feel no love”, purrs Josh. ‘Kalopsia’, featuring Reznor, is another haunting slow jam, but pulls a flick-knife chorus on you, amping up the menace with eerie backing vocals that echo the melancholy “sha-bop- sha-bop”s of The Flamingos’ version of skulking doo-wop ode ‘I Only Have Eyes For You’.

‘…Like Clockwork’ closes with the title track, perhaps the least QOTSA-sounding song ever. If MGM are hunting the next Bond movie theme creator, this should swing it for Josh, as he indulges his dexterous falsetto, channelling the sweeping, string-laden ’60s scores of John Barry, with production help with the man from UNKLE, James Lavelle. Last year, Biffy Clyro’s Simon Neil praised Queens Of The Stone Age for their ability to make sexy records. “Which I think is hard to do in a rock band,” he said. That’s because Queens Of The Stone Age aren’t most rock bands – they’re the rock band.

The Seductive ‘Modern Vampires of the City’ – Vampire Weekend

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Album Review – Modern Vampires of the City

Vampire Weekend redefine independent artistry with mature third album “Modern Vampires of the City”. Co-produced by Ariel Rechtshaid and band member Rostam Batmanglij, the third full-length release from the indie rock quartet was inspired by New York City.

Vampire Weekend
Modern Vampires of the City
XL Recordings
Grade: A+

Vampire Weekend just made it that much more difficult for all other indie bands of the day. The New York group had already charmed a sizable legion of fans and critics with 2008′s Vampire Weekend and its irresistible follow-up 2010′s Contra, both gold-sellers. But the third album, Modern Vampires of the City, is on a lofty new plane.

What Ezra Koenig, Rostam Batmanglij, Chris Baio and Chris Tomson created on Modern Vampires of the City is an opus full of breadth, maturity and adventure. The record is a cavalcade of sonic soldiering, a collection of a dozen tunes that explore the high and low soundscapes of the iconic place the guys call home. Lyrically the record name drops Harry Hudson and The New York Times while it explores love in an uptown falafel shop, the engulfing melancholy of church organs and haunting choirs, and the euphoric rush of synthesizers in interval mode. They speed up into breathless paces before they slow down again for a breather.

One of the most impressive aspects of Modern Vampires of the City is the production by Batmanglij and Ariel Rechtshaid. Koenig’s voice is so brilliantly mixed with the textured and sometimes intricate instrumentation. His singing is clear, crisp and upfront. We hear the piano, the trumpet, the trombone, the tuba, the strings, the bass, the drums, the guitars, and even the banjo. Nothing is cluttered; this isn’t a record over-washed in cascades of compressed sounds.

Vampire-Weekend-Modern-Vampires-of-the-City-300x300But yes, the immediate songs are brimming with hooks and melodies. I’m talking about “Diane Young,” “Don’t Lie,” “Unbelievers,” “Everlasting Arms” and the totally catchy “Ya Hey.” This time, though, there’s a much more sophisticated air to the choruses than we heard on Contra, which is perhaps the band’s poppiest disc. Yet on the other side of the spectrum, Vampire Weekend enthrall us with gorgeous dirges such as “Hudson,” “Young Lion,” “Hannah Hunt” and the quietly rhythmic opener “Obvious Bicycle.” Also, we have “Step,” an ethereal ballad that borrows inspiration from such disparate artists as ’90s New Jersey rapper YZ, Oakland, California rap group Souls of Mischief, ’70s soft rock band Bread and the late R&B-jazz saxophonist Grover Washington, Jr.

There are so many audible rabbit trails here that you’ll discover something new with each listen. Modern Vampires of the City was recorded in New York, Los Angeles, Hollywood and Martha’s Vineyard after Vampire Weekend took a much needed break following the extensive Contra tour, which stopped at Dallas’ House of Blues in April 2010. It is a rare record that actually ups the creative ante of a buzz band that could’ve easily lost its way after the initial critical and commercial headiness. These guys just redefined independent artistry.

Published on Mar 18, 2013

From the new album ‘Modern Vampires Of The City’ out May 13th/14th. Pre-order now: http://smarturl.it/mvotcpreorder

More info: http://vampireweekend.com

Music by Rostam Batmanglij and Ezra Koenig, lyrics by Ezra Koenig, 2013 Vampire Weekend Music(ASCAP)/Imagem Music. Lyrics reproduced by kind permission. This composition contains elements from ‘Aubrey’ (Gates). Published by Kipahulu Music. Used by permission. All rights reserved. ‘Step’ interpolates a vocal melody from ‘Aubrey’ by David Gates, and lyrics from YZ’s ‘Who’s That Girl’. Thanks to YZ’s ‘Who’s That Girl’ for our hook “Every time I see you in the world you always step to my girl.”

Modern Vampires of the City:
01 Obvious Bicycle
02 Unbelievers
03 Step
04 Diane Young
05 Don’t Lie
06 Hannah Hunt
07 Everlasting Arms
08 Finger Back
09 Worship You
10 Ya Hey
11 Hudson
12 Young Lion

Vampire Weekend Tour Dates:
03-13-16 Austin, TX – SXSW
04-12 Las Vegas, NV – The Cosmopolitan *
04-14 Indio, CA – Coachella
04-16 Davis, CA – Freeborn Hall at UC Davis *
04-17 Oakland, CA – Fox Theater *
04-21 Indio, CA – Coachella
05-08 London, England – The Troxy
05-10 Paris, France – Casino De Paris
05-15 Boston, MA – Agganis Arena
05-16 Toronto, Ontario – Sony Centre
05-17 Detroit, MI – The Fillmore Detroit
05-19 Kansas City, MO – Midland Theater
05-20 Denver, CO – Red Rocks Amphitheatre ^
05-21 Salt Lake City, UT – Red Butte Garden Amphitheater
05-23 Portland, OR – Keller Auditorium
* with Tanlines
^ with Of Monsters And Men