As eager as critics are to point out the novelty of four polo-clad Columbia grads making African-influenced music, I'm baffled how rarely they've discussed the other major influence on VW's sound: second-wave ska. The video for current single, "A-Punk" is earning heavy rotation on Fuse and MTVU, thanks no doubt to its frenetic rhythm and infectious melody. But when listening to the song it's impossible not to conjure up thoughts of The Specials (sans horns). Watch the A-Punk clip linked above, and then check out this great clip for The Specials raucous cover of "Monkey Man" (who knew the Japanese were such great skankers--check out the girl in the two-tone dress). Perhaps most critics still associate ska with the third-wave ska-punk that had a brief moment in the sun in the mid-nineties (if you didn't love Reel Big Fish in fourth grade, then you probably didn't own a radio). But if anyone can rehabilitate the critical reputation of second-wave ska, maybe it's the lads of Vampire Weekend. Incidentally, anyone interested in reading a brief history of second-wave ska should check out Simon Reynold's Rip It Up and Start Again: Post-Punk 1978-1984. At some point, I'll devote a full post to it, but for now my hearty recommendation will have to suffice.
Anyway, those of you who downloaded the "Blue CD-R" demo version of the album that floated around the internet in the fall should still check out the proper version. While the production is mostly unchanged, there are a a few changes to the tracklist. Most notably, the ska-tinged "Boston" (aka "Ladies of Cambridge") was relegated to b-side status, while two new tracks, "M79" and "I Stand Corrected" were added. Both tracks are amongst the highlights on the album. The introduction to "M79" is built around a harpsichord , until the passing the melody on to the string section. It's certainly the best use of a harpsichord I've heard in a long time--Ezra Koenig is putting that music major to good use. "I Stand Corrected" is a gorgeous, sparse ballad, showcasing Koenig's vocals, while the rest of the arrangement is restricted to a restrained string part. Christopher Tomson's drumming anchors the track, giving it a propulsive sense of drive. In many ways, it's the most straightforward track on the album, but also perhaps the most affecting. Ultimately it proves that despite all of the attention on the idiosyncrasies in Vampire Weekend's sound, they're capable of unleashing a pitch-perfect, no frills pop song, even without cribbing from the latest post on Benn loxo du taccu.
