Today’s recording artists have unique musical propositions, forging new territory with music that’s richly atmospheric and marked by vision. Vampire Weekend continues to evolve, while the first CD of London Grammar could have been the soundtrack to a new Richard Linklater film dealing with romance.
Vampire Weekend — Modern Vampires in the City (XL Recordings on Amazon.com). After the debut album, followed by Contra, Modern Vampires in the City is the band’s third studio album, and I don’t understand why it’s not available locally. Here is the band that has successfully merged experimental with poppy and has stayed true to its indie roots while crossing over to the mainstream. From the well-attended world tours to the headlining gig at Coachella, these are hallmarks of how accessible Vampire Weekend’s lyrical and textured music has been. I immediately loved Unbelievers, Step, Dianne Young, Don’t Lie and Everlasting Arms. Loopy, quirky instrumentation coupled with intriguing lyrics that often speak of yearning and/or social commentary make for music that engages yet challenges. If there’s a band that epitomizes the contemporary hipster world, Vampire is a strong contender.
London Grammar — If You Wait (Columbia Records). Already a smash hit in the UK, Europe and Australia, the three-member band has been thriving on favorable comparisons to Florence and the Machine. It has trip hop music that also owes allegiance to such acts as Lana del Rey and Lorde, but what sets London Grammar apart is the powerful, lyrical, even ethereal vocals of Hannah Reid. With an alto that suddenly sweeps into soprano mode, Hannah flies on the moody, measured songs that make up the core of this stunning debut. I especially liked Hey Now, Shyer, Wasting My Young Years and the carrier single, Strong. If there is any drawback to the music, it’s the sameness of pace that permeates throughout the album, and can lull one to oblivion. So yes, the album is haunting quality music, but the kind of music you have to be in the mood for.