While Vampire Weekend's second album isn't as contagiously catchy as its predecessor, it does see the Brooklyn based outfit develop their sound and make the most of their more laidback, mellow impulses.
When preppy indie outfit Vampire Weekend released their self titled debut in 2008, the explosion of excitement surrounding them was stupendous. And for good reason - their carefree combination of pop melodies with classical instrumentation and African beats and styles was not only refreshing but invigorating, infectious and downright catchy. Still, it wasn't too long before the novelty wore off. It's probably a good thing, then, that while 'Contra' continues in the same classically influenced afro-pop vein as its forerunner, it also develops Vampire Weekend's sound with electronic additions and synth-pop touches.
Perhaps it's guitarist and keyboardist Rostam Batmanglij's work with his electronic pop side project, Discovery, that has informed these developments. Either way, they don't interfere with the jaunty pop we've come to expect from Vampire Weekend. In fact it's quite the contrary. Horchata mixes bubbly synths with resounding tribal beats, while White Sky's backing track sounds almost like a 1990s platform game...in a good way. And while sticking to the VW formula may cause certain tracks to fall a little flat, for the most part Ezra Koenig and co. succeed by adding depth and detail into their sparse, airy arrangements. It's the string section towards the end of California English that allows it to build to a satisfying climax, and it's the horns on Run that catch both the ear and the imagination.
However, it's the more temperate, less familiar tracks that stand out here. With its careful interplay between tweedling keyboard and baroque style strings, Taxi Cab is soft, intricate and sweet, while Giving Up The Gun's strong electronics and circling beats have magnetic appeal. Contra may not inspire the same immediate response as Vampire Weekend's first, but it certainly has the range to equal its predecessor.
