Vampire Weekend Review

Vampire Weekend
Brighton Audio
Sunday 24th February 2008

“You’re shit hot!” shouts a typically animated Vampire Weekend devotee. “You don’t like us? Oh…” enquires clearly deflated singer Ezra Koenig. “No, no, shit hot means good over here,” he is assured. Although some things are lost in translation, the band’s irrepressibly joyous pop kitsch is well understood.

The New York band have enjoyed (or endured, depending on your viewpoint) more hype than is strictly plausible for a preppie four-piece with a penchant for Peter Gabriel. If this had gone to their heads the ridiculously tiny stage wouldn’t be able to fit even one of their egos, let alone a drum kit. When they jumble into view, forced to perform in a straight line due the delightfully cramped setup, it’s clear they’re as enthusiastic as the opening aural fling of ‘Mansard Roof’ suggests. The lyrical quirkiness charges fragmented rhythms in a strolling idiosyncratic salute.

The difference of this beginning is misleading though. Despite their billing as composers of thrilling, new musical ideas, Vampire Weekend are really just another indie band, who happen to throw in some world influences to compliment the angular riffs. This doesn’t decrease their attraction though, as new single ‘A-Punk’ shows. It’s infectious melody and buzzing bass are brimming with a frazzled energy that disperses into an already vivacious audience. It’s unadulterated playfulness, with enough “whoa” chants to engage and not too many to annoy.

The set careens past, a blur of communicable vim. Themes of unswerving simplicity in ‘Campus’ and ‘M79’ increase the hurtling pace of the show, with cheery exuberance favoured over showy dramatics or complexity. The former showcases the loveable naivety of the group as they reminisce: “In the afternoon you‘re out on the stolen grass/And I‘m sleeping on the balcony after class.” They look startlingly young, and suitably untroubled. ‘Cape Cod Kwassa Kwassa’, with its calypso attitude and clinking melody, is a calming respite, less frenetic but equally jubilant.

The closing couplet of ‘Oxford Comma’ and Walcott’ raise smiles and spirits further. Ezra’s sardonic drawl of “All your diction dripping with disdain,” in their knowing ode to grammatical accuracy proves a glowing highlight. The tempo changes, vocal gimmickry and clever stylistic blending characterise the band’s tongue-in-cheek astuteness and overriding aim to entertain.

‘Walcott’ is a plain old sing-along, containing about four lines, but enough spark to make the crowd desperately want to visit the mysterious Cape the song’s protagonist wants to get out of. The drumming is basic and overwhelmingly loud, the tune is easy to follow, the hook itching to be yelled. This is timeless sunshine music, but equally effective at warming a Brighton basement in February. Vampire Weekend are far too fun to be revolutionary, and all the better for it.

Los Campesinos! Interview

Los Campesinos! have admitted they “really aren’t that bothered” by unlawful downloads of their new album.

“I have downloaded music illegally in the past,” Ellen, the band’s bassist, told Gigwise. “And if I really like it I’ll buy a tangible copy. We’re not that driven by money anyway, with seven of us in the band.”

Their debut record, ‘Hold On Now, Youngster’, is released on Monday, but was leaked on the internet a month ago.

“We’re excited that it’s finally coming out, but it’s almost an anti-climax because we recorded it so long ago and it’s been leaked.”

New single, ‘Death To Los Campesinos!’ came out this week, and Ellen explained the idea behind its rather colourful video, which sees the band ‘killed’ by the likes of flowers, feathers and unicorns.

“Making videos can be a long and boring process, but we were all incredibly excited to be surrounded by kittens,” she said.

“We always get associated with the word twee, so it was nice to be murdered by twee things.”
Los Campesinos! are currently on a UK tour, with dates still to come in Kingston tonight (February 22nd) and Portsmouth on Saturday.

They then head off to Europe for a series of dates in such glamorous locations as Paris, Berlin and Milan, but Ellen insists she favours the homeliness of Britain.

“I prefer touring in England. It’s a lot colder in Europe. The food’s amazing, and the sights and stuff, but I like the routine and familiarity of the UK.”

The Cardiff collective will be doing the rounds at festivals this summer, with All Tomorrows Parties and South By Southwest already confirmed.

However, thoughts are already turning to the next album. “We’ve got lots of songs left over, and will be recording over the summer whenever we get chance.”

The Best Love Songs Ever

20. Blur – ‘Tender’ Graham Coxon shuffles about uncomfortably, Damon Albarn is all gawky certainty, and Blur have never been so powerful. Backed by a gospel choir, recalling the imagery of Fitzgerald and Keats, it had altogether loftier ambitions than Blur’s earlier records. However, its charm is the devastating simplicity of both words and music, combining to make a song full of affection.

19. The Stranglers – ‘Golden Brown’ A love song about heroin, it waltzes past, seemingly propping itself up on a merry-go-round rhythm that bobs along constantly. Full of contradictions and a tickling vocal, it sounds peculiarly English, a strange vagueness mixing with a stately delivery to get that bubbling affection creeping through.

18. Oasis – ‘Wonderwall’ One of the most recognisable riffs in music gives way to a brooding vocal, part-sneer, part-croon, and millions of people recall millions of moments this song has soundtracked. The faint strings bring depth, lyrics effortless togetherness. A track so universal it makes rabbles of drunken lads show signs of emotion on a daily basis.

17. Buzzcocks –‘Ever Fallen In Love (With Someone You Shouldn’t Have)’ Buzzcocks masterpiece of hormonal adulation pits a confused Pete Shelley against his confusing lover and produces a rollicking two and a half minutes of unadulterated punk revelry. The repetition of ‘Ever fallen in love’ gives the song its heart and a quality that ensures reminiscence on every listen.

16. Donna Summer – ‘I Feel Love’ A trance-inducing loll through romance, ‘I Feel Love’ contains a synthesized backing so hypnotic it takes on an ardent glow. This lays the platform for Summer to sing piercingly pure vocals that bring an elated atmosphere to the track that revolutionised disco.

15. David Bowie – ‘Be My Wife’ “Sometimes you get so lonely/Sometimes you get nowhere.” Bowie is both playful and heated in this particularly frank plea for love. The key is the unconventional alteration of the repeated set of lyrics, changing slightly each verse and tapping into the desperation of Bowie’s appeal.

14. PJ Harvey – ‘This Is Love’ “I can’t believe life's so complex/When I just wanna' sit here and watch you undress.” PJ Harvey wastes no time in this rumbling blast of authoritative infatuation. It is unswerving in its intentions, as direct as it is commanding. The lack of complexity adds to the raw passion of a song of lustful pleasure.

13. The Smashing Pumpkins – ‘Tonight’ “The indescribable moments of your life tonight/The impossible is possible tonight/Believe in me as I believe in you, tonight.” Could be a bit cheesy, that. But sung in Billy Corgan’s unmistakable croak, it’s an empowering rollercoaster of a track, with grandiose strings ensuring an altogether affecting song.

12. Super Furry Animals – ‘Fire In My Heart’ A track of warmth and tenderness, it sees the Welsh scamps build up an exquisite but plain beginning. It evolves into a strong assertion of dedication, which clashes euphoric delivery with the underlining feeling the song should just collapse at any moment. Brilliantly different.

11. The Cure – ‘Friday I’m In Love’ Robert Smith penned this jovial ode to joy with a knowing simplicity that ensures it is as catchy as it is sincere. He uses the hook of days of the week eight years before Craig David made it annoying, and sings with enough jubilant abandon to lay claim to the title of happiest Goth of all time.

10. Led Zeppelin – ‘Thank You’ The first song that Robert Plant ever wrote for Led Zeppelin pays homage to his beloved wife Maureen; it features such heartrending lines as: “If the sun refused to shine / I would still be loving you /Mountains crumble to the sea / There will still be you and me.” Lovely.

9. Serge Gainsbourg and Jane Birkin – ‘Je T’aime (Moi Non Plus)’ Few love songs have been officially denounced by The Vatican, but Serge Gainsbourg managed it with this sensual saga. It was deemed outrageous and explicit, with hushed French vocals and a deliciously suggestive style, but is also delicately delivered. Gainsbourg’s then-girlfriend Brigitte Bardot asked him to write 'the most romantic song that you could imagine', which is a fairly apt description.

8. The La’s – ‘There She Goes’ The lyrically sparse, wandering spirit of ‘There She Goes’ sounds as fresh and free today as on its release. The liberating, uncomplicated nature of the song may be at odds with interpretations it is actually about heroin, but, regardless, it remains a startlingly loveable tale of adoration.

7. The Beatles – ‘Something’ A majestic, swirling, and unashamedly sentimental track written at the stage when The Beatles seemed to have left this type of balladic tune behind, the song showcased the genius of George Harrison. He claims to have had Ray Charles in mind when writing it, and captures a sentiment of both openness and elusiveness.

6. Lou Reed – ‘Perfect Day’ The former Velvet Underground man showcased sensitivity on this release from acclaimed solo album ‘Transformer.’ The track is a subtle trip down a seemingly conventional romance, and is stark in its honesty, with lines such as “You make me forget myself/I thought I was someone else/Someone good.” Of course, it could all be about heroin again, but it’s cute nonetheless.

5. Marvin Gaye – ‘Let’s Get It On’ With more “ooh ooh”s, primal cries and “baby”s than most singers manage in a career, Marvin Gaye was at his most persuasive on this classic groove of charismatic seduction. A laid-back slice of soulful perfection, thousands of bad karaoke renditions haven’t tainted the pure smoothness of this expressive perfection.

4. Sebastien Tellier – ‘La Ritournelle’ The almost unbearable lushness of ‘La Ritournelle’ is tantalisingly visceral, a song that breezily drifts away aches and pains. It’s stylish, but oozes a soft vulnerability that only adds to the aching beauty of this crafted composition. The kind of song so gorgeous it should be annoying.

3. The Beach Boys – ‘God Only Knows’ From the French horns of the introduction to the airy vocals of Carl Wilson, reluctantly allowed to sing the song by his brother Brian, ‘God Only Knows’ is a twinkling composition as gorgeous as it is complex. The understated harmonies and emotional lyricism complete a delightful pop moment.

2. Joy Division – ‘Love Will Tear Us Apart’ The delineation of destructive love, Ian Curtis’s tortured vocals are tormented by pulsating drums and a tainted melody, giving the song a prodigious power. The well-documented context in which the song was created adds a spectral quality to the sound, but it is the lyrics of isolation and devotion that make this an essential song of love and pain.


1. The Smiths – ‘There Is A Light That Never Goes Out’ Undoubtedly the most beautiful music ever to include lyrics about getting hit by a bus, this manages to be a touching love song despite, or perhaps because of, its ambiguous lyrics of isolation and death. Morrissey at his most poetic.

The Worst Love Songs Ever

20. Robbie Williams – ‘Angels’ After he left Take That, they soon fell by the wayside, and everybody assumed it wouldn’t be too long before the chubby one from Stoke did the same. But no, he released this behemoth of sentimental pap and it went and saved his career. So we still have to look at his smug face in the paper every day.

19. Lionel Ritchie – ‘Hello’ Does anyone else get ever so slightly scared by the video? How is the blind love interest’s sculpture so worryingly accurate? Is Lionel Ritchie really that creepy? He shouts hello with such exclamation, and so many times, you can’t even just ignore the song, you’re stuck listening to the repeated greetings of a gibbering idiot.

18. Bryan Adams – ‘Everything I Do, I Do It For You’ This Robin Hood soundtrack song was Number One in the UK for 16 weeks. 16 consecutive weeks! Who was still buying it? After four whole months of Bryan Adams telling you to “look into my eyes,” you’d have thought there was nothing left to see. But no, people kept buying it, the result being fits of cold sweats every time we see a bow and arrow. (This isn’t that often, admittedly.)

17. Eric Clapton – ‘Wonderful Tonight’ Didn’t he used to, erm, play rock music and stuff? Quite handy with a guitar, if we recall. The former Yardbirds and Cream member went all slushy with this tribute to his other half, Pattie Boyd, taking ages to get ready for a party. It’s frustrating when that happens, sure, but there’s no need for a syrupy four minute track to immortalise it.

16. Celine Dion – ‘My Heart Will Go On’ Sure, Titanic was a tragedy. But the real disaster was having this song unleashed on an unsuspecting public. Unlike the ship in the film this song soundtracked, it just wouldn’t sink. It was everywhere, winning Oscars and Grammys, while ingraining Celine Dion’s irritating, exasperating warble on a world not quite ready to realise it was absolute drivel.

15. Keane – ‘Somewhere Only We Know’ Back in the days before Keane singer Tom Chaplin was a plump, pompous, infuriating rehab-attendee, he was still plump, pompous and infuriating. This kicked it all off, the high vocals, plonking keys and empty sound adding up to a hollow track of stabbing irritation.



14. The Bangles – ‘Eternal Flame’ So awful it was deemed fit to be covered by Atomic Kitten. “I watch you when you are sleeping/You belong with me,” was apparently romantic, but in The Bangles’ sharp voices it sounds more like the behaviour of a deranged stalker. Naturally, it was a tasteless hit worldwide.

13. Sherman Brothers – ‘You’re Sixteen’ The question is, how old were the Sherman Brothers? Sure, sure, 16 is legal. But the age of consent is 12 in the Philippines – that doesn’t make it right. Regardless of that, the song is just plain, cheap, nasty, throwaway, boring music. Ringo Starr did a cover version. Hmmm…

12. Westlife – ‘Flying Without Wings’ Westlife release a song, it gets to Number One, it becomes increasingly difficult to believe the nation has a soul. The Irish crooners have been belting out slight variations of this formula for years now, but never more excruciatingly than on this 1999 hit. It all comes to a head at the chord change, when even if you’re hearing the song on the radio, you can picture them getting out of their stools, fists clenched, faces punchable.

11. Goo Goo Dolls – ‘Iris’ Songwriter Johnny Rzeznik is rumoured to have ended a long spell of sobriety when he penned this cult favourite. If Alcoholics Anonymous needs any help convincing people of the dangers of drink, that’s as good an incentive as any. You can still catch them peddling this at festivals, if you’re unlucky.

10. Savage Garden – ‘Truly Madly Deeply’ Darren Hayes reels off lines supposed to be of life-altering importance and earth-shattering beauty as if he’s reading a shopping list. Some kind of twiddly nonsense is going on in the background, and it ends with him squealing rather pathetically. But at least it knocked Elton John off the top of the charts.



9. Mariah Carey – ‘Hero’ She’s obviously pretty demanding, a bit detached from reality and more than a little unhinged. But she (or her management) knows how to sell records. Now, she’s shifting millions of sub-R&B; in 1993, schmaltzy, tear-jerking ballads about looking inside yourself were all the rage. Naturally, Mariah out- schmaltzed and out-cried all the competition.

8. Paul Anka – ‘You’re Having My Baby’ “You’re a woman in love/And I love what's going through you.” Or: “Whoa, the seed inside you/Baby, do you feel it growing.” Or even: “Having my baby/What a lovely way of saying/What you’re thinking of me.” Shameful sexism, vulgar imagery and downright shoddy lyricism combine in one of the most shockingly ghastly moments in music history.

7. Phil Collins – ‘Groovy Kinda Love’ The problem here is all in the lyrics. You can’t get much cheesier than “When I’m feeling blue, all I have to do/Is take a look at you, then I’m not so blue.” The worst part is that this is a cover! Collins took a truly atrocious song and somehow managed to make it so trashy it would be even more popular with middle England. Nothing groovy about that.

6. Nilson Harry – ‘I Can’t Live If Living Is Without You’ Agonising power-pop of the highest order, Nilson Harry stretches the boundaries of taste in this churning epic. None of the notes sound right, the lyrics are cobbled together and the whole thing relies on an enormous chorus that is just sickeningly needy. More depressing than romantic.

5. Barry Manilow – ‘Mandy’ Just edging Westlife’s version of the same song in terms of drippiness, this poppy ballad is utterly soaked in maudlin affection. That Barry Manilow’s ‘Mandy’ manages to gather up such an abundance of tackiness into just one song is its main achievement.4. Chris DeBurgh – ‘Lady In Red’ Bill Bailey has him very high up his patented ‘Scales of Evil,’ chiefly for infecting music with this tribute to a woman (maybe his wife, maybe Princess Diana) wearing a bright dress. Ending with the inspired lyrics of “Lady in red/lady in red/lady in red/I love you,” it is destined to grate on you at weddings forever more.

3. Donny Osmond – ‘Puppy Love’ He’s presenting some horrendous quiz show on daytime television now, but even that isn’t as nauseating as this memorably juvenile take on love. It could be deemed as cute and innocent, but is produced with such a layer of sheen you feel it is plastered onto you. Being fourteen is no excuse, this is plain rubbish.

2. Billy Rae Cyrus – ‘Achy Breaky Heart’ Country music, mullets and broken hearts don’t seem essential ingredients for an enormous crossover hit, but that’s all Billy Rae Cyrus had to work with. To make matters worse, it led to line dancing, the refuge of the elderly and the insane. Breaky isn’t even a word.

1. James Blunt – ‘You’re Beautiful’ He sits on the edge of a cliff for the entire length of the video. If they’d known what they do now, surely somebody would have pushed him before he jumped, wouldn’t they? The ultimate pitiful singer-songwriter’s definitive song, it’s painstakingly bad. “But I won’t lose no sleep on that/’Cause I’ve got a plan/You’re beautiful.” That’s not a plan, is it, now leave us alone.

Milan Misadventures

Giorgio Armani and me, we don’t often cross paths. Tina Turner sends him a panther every Christmas; I watch Peterborough Panthers speedway team occasionally. He’s got an estimated fortune of £4 billion; until recently I spent Friday nights sitting on a Tesco till. As he sat in his mansion, I was hunting down my £13.50-per-night hostel.

After a day spent investigating the Duomo cathedral, I sought some less sophisticated entertainment; there’s only so much refinement you can stand on a Saturday afternoon. Even though Milan is a destination known for fashion, style and elegance, these were far from my mind when entering a pub imaginatively named ‘The Football Bar’ to watch some British sport after a day of continental culture.

With Six Nations rugby on TV, I grabbed the last remaining table. A few lads wandered in, briefcases in tow, fresh from a conference. I offered seats, and was soon explaining the morals behind England fielding a Tonga-born former New Zealand international in a match against Wales, to a Scotsman, an Australian and an Italian. This seemed to go down well, the suits suitably impressed with my passable sporting knowledge.

They were interested enough to keep the drinks coming my way, and convinced me - through the persuasive power of Peroni - to join them for dinner. With only 15 Euros in my wallet, thankfully they were picking up the tab. I felt slightly out of place as champagne and lobster began to be served. Finally, I asked: “So what exactly is it you do?” Turns out I was in the midst of 16 international law firm partners, which came in handy when the bill reached two grand.

I thought it was time to depart, only to find I was on the guest list at “some club or other.” This was Armani Prive, Giorgio’s private nightclub, noted by theworldsfinestclubs.com for its “exclusive, luxurious atmosphere of personal expression.” My personal expression was crazed bewilderment, being the only non-millionaire/supermodel inside, dressed more H&M than D&G.

Realising the best way of fitting in with my newfound friends was a combination of polite nodding and gratuitous leering, I exited at 4am. But, unbeknown to me, the paparazzi were waiting. As they snapped away I considered a Bjork-esque attack on them for daring invade my privacy. Instead, I made my way to the hostel, reminiscing about my night of glamour before reality hit in the form of stale-bread for breakfast.