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With a title that seems to be the new episode of the Twilight saga and a magnificent cover - a photograph of New York in 1966, by Neal Boenzi, which portrays the Big Apple on the day of maximum pollution in its history - the return Vampire Weekend, at the finish line of the third album after the success of the first two almost unpredictable.
Their interesting formula, consisting of a typical New York indie rock and world music jerks, is one of the coolest heard in recent years and has earned the band a great response to the public (but sometimes too critical of them by the specialized press has often paid as pale imitators of Paul Simon's Graceland). Modern Vampires Of The City, produced by Ariel Rechtshaid in his studio in Los Angeles, with courage differs from what was done in the past and trying to find, often succeeding, new avenues of expression for the quartet. The band itself has defined the disc as a product of meticulous attention to detail and level of composition and a significant step forward, and one can not but agree that in spite of some step-load flag as Vampire Weekend are still in search of his masterpiece or, at least, of a personal style to its completion and original.
And if in some cases it is possible to see without much difficulty some nice references to the past - Contra is an album slap even today - as in the case of Diane Young, there are several unsettling moments in the disk and a general atmosphere darker, almost the cover photograph represented in some way the general mood. If Do not Lie vaguely reminiscent of the Strokes, Hey Ya, Young Lion and Worship You tell a group of more mature and serious, almost African rhythms of the recent past were a luxury no longer sustainable. Tentative but interesting ...
