Album Review: Vampire Weekend - Modern Vampires Of The City

Ah, the third record. You've dropped your successful debut out of the blue; yeah, so what? Plenty have done it before you. The “difficult” follow-up is a slog that leaves many bloodied and dying along the road. But if it's a hit too, then you've got a clean slate with the third album. You've proved yourself, you've defied the critics, and you've granted yourself the licence to do something really impressive.

And that, dear reader, is exactly what Vampire Weekend have done. They burst out of the blocks in 2008 with their self-titled debut, and backed it up in 2010 with Contra, proving that the four-piece's blend of minimalist, intelligent pop was a hit. So with the world as their canvas, the band looked no farther than their own home town for inspiration for their third.

A city with as much history and diversity as New York City has inspired artists for centuries, and Modern Vampires Of The City, from its haunting cover image to Step – the down-tempo standout that could perfectly accompany a lonely stroll through the crowded Chelsea street – is a moving tribute album to the city.

It's surprising to note that the record was, for the most part, created and recorded in Los Angeles, because even though there's a summery vibe over much over the record, a dark lining covers the tracks. Minor chords, vocal transmutations (see the “baby, baby, baby right on time” refrain on lead single Diane Young), and the hauntingly beautiful Hannah Hunt all contribute to a refreshingly mature step for Vampire Weekend.

While not a party album like previous releases, Modern Vampires… is, without doubt, Vampire Weekend's most accomplished record yet.