User Score
8.7

Universal acclaim- based on 267 Ratings

User score distribution:
  1. Negative: 7 out of 267

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  1. Jul 15, 2014
    8
    Here they are. Out of the smoke and rubble, NYC’s Vampire Weekend emerges with a new change of attitude. It’s been three years since the college radio-loved VW have released an album and the world has seen them recluse into the vapor to discover a new path into the musical atmosphere. With their new album, Modern Vampires of the City,Vampire Weekend has journeyed successfully.
  2. May 2, 2014
    10
    As the songs go one, you will keep thinking in the awesome lyrics and different rhythm that totally changed the look of Vampire Weekend. This revolutionary album is the band's best till now, and I can't wait to see what will come next.
  3. Apr 16, 2014
    9
    I absolutely loved this album. Joyful, meaningful, fun, nice, lovely, original, passionate, extravagant, eccentric, ambitious, well-produced. Just awesome!
  4. Mar 19, 2014
    10
    An album that changes the way we all look at an already well established band. Soft beats, Tender harmonies and light production value make this album a success in even the toughest markets. An essential album to have and give a listen or 10.
  5. Feb 25, 2014
    9
    Vampire Weekend's Modern Vampires of the City is all kinds of brilliant; with great lyrics, a fantastic production and incredibly beautiful instruments, choral verses and vocals - this album is well worth a listen to. But unfortunately, the album is unable to get a 10 out of 10 score due to the annoying high-pitched vocal effects in Ya Hey, which I feel ruin that brilliant song, and also due to the forgettable Everlasting Arms, which I feel is the weakest song on the album. Flaws album, this is a fantastic album. Expand
  6. Feb 22, 2014
    8
    Modern Vampires of the City is Vampire Weekend's darkest album that might lack in that familiar ground that made Vampire Weekend, Vampire Weekend in the first place, but after a few plays and a few more times to adjust to Vamp's more experimental and dark ground, as it turns out, Modern Vampires of the City might just be a clean page for this phenomenal, endlessly surprising and creative band.
  7. Feb 5, 2014
    9
    Few albums in 2013 were crafted as intelligently as Vampire Weekend's "Modern Vampires of the City." The album bursts with creativity and technical brilliance. Coruscating and groovy tracks like "Diane Young" and haunting but rhythmically bright tracks like "Unbelievers" and "Ya Hey" both serve as a testament to this album's efforts to not succumb to the popular trends of past musical styles, but instead, carve out its own name (while maintaining the integrity they have established in their past two albums). Vampire Weekend has set new standards that will be hard to beat for any upcoming alternative albums this year.

    FINAL SCORE: 92.5 (almost perfect -----o--------------- perfect)
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  8. Jan 4, 2014
    7
    Bah, not bad, but still beeing the same than VW 2 previous records, is nothing to be impressed but is something really nice, sounds and feels great you feel tired.
  9. Dec 5, 2013
    9
    Three albums in, Vampire Weekend still haven't lost their edge. While their last album had a concept about a breakup that sends Ezra's brain on all sorts of crazy tangents, this one is a more controlled statement that mainly deals with Ezra's religious beliefs. It doesn't have any irrelevant mini-concepts like The Clash, or the Contra video game, or Nicaraguan revolutionaries, although it does have the random Vampire Weekend weirdness that always shows up in their lyrics. Like the music ones first Lil Jon, then Kanye West, and now Modest Mouse and DragonForce. What do these things all have in common? Everybody knows I'm a moster! (But seriously, the thing is that none of those artist references have anything to do with the rest of the song, not that they really have to).

    Since the album has religious themes, sometimes also atheistic or agnostic, you'd expect church instrumentation a la Arcade Fire's "Neon Bible", and you would be right. But the difference is that none of the tracks are overloaded with organs, and surprisingly not baroque instruments either, like you would expect from Rostam Batmanglij. Instead, the preferred sound is that of choirs, in my opinion the perfect choice. Ezra and Rostam must be geniuses, this band has had some of the coolest evolution I've ever gotten to experience with my ears. They know how to evolve.

    I observed that the album Vampire Weekend was rather quiet, and Contra was much more willing to raise its voice. Modern Vampires is a little bit in the middle of the road, as its concept is as well. Some of these tracks are bangers, some are chillers, and some are quiet and put you right on the edge of your seat. All of these varieties work. That really pleases me because the result is a record that, somehow, impossibly, I end up liking BETTER than Contra. Yeah, I can't believe I said it, but it's actually true. This is my favorite Vampire Weekend album to date.

    I give this a 9 out of 10. This band's fourth LP has found itself at the very top of my list of most anticipated upcoming albums. But is probably won't arrive until 2016. Meaning I'll have something missing from my life until then.

    STANDOUT TRACKS: OBVIOUS BICYCLE, UNBELIEVERS, DIANE YOUNG, HANNAH HUNT, EVERLASTING ARMS, WORSHIP YOU, YA HEY, HUDSON, YOUNG LION

    (Yes, I realize only three tracks remain. That's how good this is. Almost every track on here can be considered one of my favorites.)
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  10. N10
    Dec 2, 2013
    10
    Absolutely fantastic, my personal favorite indie rock record this year, album of the year material. Screw it, one of the better records of the past decade. Lovin' it!
  11. Nov 2, 2013
    8
    [8.8] A more than competent successor to their second release, and a beautiful record. On their third release, Vampire Weekend is surprisingly, almost unexpectedly calm while being wonderfully entertaining. Although Vampire Weekend has lost the more obvious of their influences, the simplicity of this album's sound comes naturally, and accessibly. Somehow, even though they've lost their distinctiveness that defined their personality, Modern Vampires is successful in convincing the listener that this is the sound of Vampire Weekend, even if it's so obviously different than the past Vampire Weekend. Modern Vampires succeeds most in reflection. Here is a band that presumably never expected fame, never wanted it, but once they have it, they deal with it healthily. They explore it, see what it has to offer, and in it they find an appropriate balance. In sound it may only be second to their most impressive release, but Modern Vampires never sacrifices the depth that Vampire Weekend has worked so hard to achieve. Expand
  12. Oct 15, 2013
    9
    Best Vampire Weekend album to date. Captures what has made them so memorable in the past. However, the album also incorporates new things that VW haven't touched upon in the past. Very rewarding listen.
  13. Oct 7, 2013
    6
    After falling in love with Contra and Vampire Weekend and the up-beat sound and style that was so unique and characteristic of Vampire Weekend, I find myself quite disappointed as to where Modern Vampires of the City has gone. I commend Vampire Weekend for not entirely selling out and still maintaing some style while going into a genre too often explored and found wanting. The originality seems to have taken a hit in this album for a more mainstream friendly sound. Not a big fan, and I'm quite disappointed. Expand
  14. Sep 27, 2013
    9
    First listen, didnt really care, second listen, awesome! So catchy songs. I find myself whistling or singing along with all songs! Really awesome awesome! Favorites: Unbelievers, Diane Young, Hannah Hunt, Everlasting Arms, Finger Back.
  15. Sep 17, 2013
    10
    The best release in a summer that was packed with quality music and hype. Vampire Weekend gets better with each effort, and the drastic change in musical style while still maintaining an incredibly unique identity and sound and continuing to produce masterfully impresses.
  16. Jul 29, 2013
    9
    It seems like just yesterday that the four New Yorkers made a surprisingly big impact on America’s indie music scene with their self-titled debut, but Vampire Weekend has already come back for a 3rd album with Modern Vampires of the City, half a decade after their sudden success. And thinking “that was so long ago?” now is understandable since the band has never really departed from their roots; even the remarkably darker Modern Vampires has a couple of tracks that are quite exactly in the style of their first two major releases. But let’s not draw the curtain over it: Vampire Weekend sound really fresh and renewed with their new album while their not-that-altered-after-all style makes it clear that Ezra, Rostam, Chris, and Chris are still able to find the same amount of pleasure in making music as they did when writing noughties classics like Oxford Comma or Cape Cod Kwassa Kwassa. While the unbelievably smoggy New York on the CD cover could have induced you to expect a darker album, Modern Vampires is, with a few exceptions, quite buoyant, after all. Frontman Koenig is, for example, singing his lyrics so fast in Finger Back or Worship You that the accompanying booklet is necessary to understand everything. And in fact, songs like those two are, even though they are likely the two weakest songs on the album, really important in preventing the album from becoming dreary. On other songs like Hudson, Hannah Hunt or Young Lion, the band’s nature gets some modification as well and while all of this isn’t a Standing on the Shoulders of Giants-esque change in tone, it is still a very entertaining and very well-done new approach to their music. What also made me like it more than Vampire Weekend and Contra are the more understandable lyrics (barring Finger Back that is cryptic), however, rummaging through the internet during the first listening session is supposably still indispensable. Anyway, the songs provide even greater fun if you manage to comprehend (or basically just interpret because we don’t actually have proof for RapGenius’ annotations or the like) them and I’m willing to bet that they’ll land on your iPhone library just in a matter of days. It’s admittedly hard to make a step forward from two albums that were as great as their two previous ones, but while not continuously as good as their career highpoints Diane Young or Hannah Hunt; Modern Vampires of the City is an immensely fulfilling follow-up that you will soon adore for pretty much anything that you can adore about music. Expand
  17. Jul 28, 2013
    10
    One of the best albums of 2013. I found myself listening to it over and over again. The lyrics are deep and meaningful and the songs range from hauntingly beautiful to fun and catchy. I wasn't a fan of Vampire Weekend before this album but Modern Vampires of the City has made me a believer. Do yourself a favor and listen to this fantastic album!
  18. Jul 23, 2013
    9
    Vampire Weekend crafts another lyrically stunning album, delivering a wide variety of dynamic and spontaneous songs. The band strikes a near perfect balance in making catchy, yet still meaningful songs. Do yourself a favour and listen to this album, you will not be disappointed.
  19. Jul 20, 2013
    10
    This is one of the best albums of the Year!! Lyrically haunting, emotionally deep and superb in every other aspects. Do yourself a favor, and listen to this, your ears will thank you!
  20. Jul 12, 2013
    9
    This album takes all the elements about Contra that really developed the band’s sound, and keeps going in that direction while simultaneously, to some extent, abandoning key elements of their original style more something that’s a bit more refined, a bit more mature, and overall another step in the right direction. No matter which album you look at though, one element that runs through all of them to me is how, as broad and sometimes overused as this sub-genre tag is, Vampire Weekend is the absolute epitome of “indie pop”. While always being chock full of catchy hooks & usually having a lot of accessibility, they’re also never afraid to experiment or throw in a few unorthodox elements, and you can always tell there’s a lot of effort & creativity being put into the songwriting in creating these sets of great pop tunes that, while easy to get into, always have a certain bite to them, whether it be with infectious hooks, fun energy or emotional resonance.

    The latter in particular is in my opinion the main improvement of this album in comparison to their previous work: the lyrics & moods. While not entirely devoid of substance, the emphasis of those albums, especially on the debut, seemed to be on just a group of cool upper-class college kids writing fun upbeat pop songs. Which is fine & all, but it seems like on MVotC something suddenly clicked in Ezra's brain that made him really get in touch with his sincere & vulnerable side, and as a result his lyrics became more interesting to read into & possibly connect with. One highly recurring theme here is Koenig’s strained & almost antagonistic relationship with religion, particularly on track like “Unbelievers”, “Worship You”, and more subtly & symbolically on various other tracks that are a bit harder to decode. Even though I’m a Christian myself I can appreciate anti-religious messages as long as they’re handled with a sense of intelligence & class. Fortunately that was the case here. “Unbelievers” is a song that to me can be interpreted in one of 2 ways: either it’s an “atheist love song” of sorts about a couple willing to undergo together the slight sense of shunning in society atheists tend to get for, or from the point of view of an atheist man dating a religious woman & struggling to keep that difference from getting in the way of things too much. Either way it’s a pretty engaging situation to think about. “Worship You” is a much more standard track pointing out valid hypocrisies of some of the worse religious people out there & why some people have a certain level of vendetta against organized religion altogether. Aside from that, other interesting tracks lyrically include the complicated & metaphor-flooded “Step,” which on multiple occasions compares a man’s relationship with his significant other to that of his relationship with his music collection/tastes. One more lyrically notable track is the opener “Obvious Bicycle”, which details a socially bankrupt man with seemingly little meaning to his life pandering to the greedy businessmen of the world to get by. It’s a descriptive character piece that I’m sure a lot of people could relate to in this day & age. Both in the previous cases & with this there’s a lot of sincerity & sentimentality put into the messages, and I hope to see this kind of emotional openness reappear on the band’s future work.

    My favorite track here, and one of my favorite songs of 2013 period, is Diane Young, a fantastically catchy, upbeat & kinda insane conglomeration of sounds that to me sounds like what would happen if Elvis was still alive in 2013 & listened to a lot of Pitchfork-promoted indie rock bands, and maybe an EDM producer or 2. And it’s all done with this carefree & bombastic attitude that I can’t imagine anyone not enjoying to some degree. Lyrically it’s not one of the more overflowing songs substance-wise, but it does have a cute little homophone-wordplay title & some clever lines about living life to its fullest if the titular fate won’t faze you. Going back to how the album is musically though, this album is probably the band at their most creative ambitious & probably at their most diverse, if not at around the same level as that of Contra. However, MVotC seemingly shows a mindset shift in their creative process, thinking more “let’s write a set of great tracks that flow together well” than “let’s see how crazy we can get in this one style incorporating this element here”, though the latter does admittedly pop up on a couple tracks here & there. Still there are definitely changes between tracks, between slow & sentimental tracks, steady mid-tempo grooves on tracks like “Ya Hey” (which incorporates these weird chipmunk-like backing vocals that while annoying at first grew on me a bit), a few that just go bonkers tempo-wise, and the downright creepy semi-closing track “Hudson”.

    One thing’s for sure on Modern Vampires of the City: Vampire Weekend isn’t even close to creatively bankrupt yet. 95/100
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  21. Jul 10, 2013
    10
    I got so excited for this album to come out! I've listened to it almost 4 times since release! I think this could be their best album overall! Best tracks in my opinion: Unbelievers, Diane Young, Ya Hey
  22. Jun 19, 2013
    10
    There are just so many things I can say about this album. But for the life of me I just cant figure out how to say them. All I can really express is how this album may be the most important piece of music I have ever listened to. There is so much beauty in the minds of Ezra, Rostam, CT, and Baio. The four of them plus additional producer Ariel Rechtscaid have created a spectacular record that I believe will never be forgot. Expand
  23. Jun 18, 2013
    8
    The uppy- coffee drinking New Yorkers are back. And better than ever. This is one of the best efforts from the alternative trio ever. They've seem to lost some of their attributes and categories they were attached to in the past and brought a more full round album. Not as good as their freshman debut but still manage to prove that they can make good music to critics and actual listeners alike. 8/10 Great. Expand
  24. Jun 18, 2013
    9
    Stunningly beautiful, delightfully unique, and deceivingly simple, this album may go down as Vampire Weekend's best. The songs transition so beautifully that the album is over before you know it and you aren't even sure which song was your favorite. The songs' seeming simplicity belie masterful song-craft on the part of Ezra Koenig and Co. What really brings this album together, however, is the lyrics. The musicianship is so impressive that you can, and most likely will, go several listens without even paying attention to the words the songs are that beautiful but when you do take the time to listen to what is being sung, you will discover the most mature lyrical themes of this band's entire catalog.

    Perfect chamber pop. 9/10
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  25. Jun 18, 2013
    8
    Here they are. Out of the smoke and rubble, NYC’s Vampire Weekend emerges with a new change of attitude. It’s been three years since the college radio-loved VW have released an album and the world has seen them recluse into the vapor to discover a new path into the musical atmosphere. With their new album, Modern Vampires of the City,Vampire Weekend has journeyed successfully.
    The
    differences between MVOTCand VW’s two previous releases (Contra 2010, Vampire Weekend 2008) are noticeable. Gone is the advertisement of preppy college life and the young men they were. VW has changed, as heard in Track 3: Step (The gloves are off, the wisdom teeth are out). They’ve matured over a span of three years, and they know it. MVOTC is an album dedicated to the exit of youth and entering of the notion of growing up and facing life. The album could almost be considered as the step brother of the Vampire Weekend we all know. The album cover says it all. There are no filtered pictures of Columbia University ballrooms or 1980’s models. The only reason why the name “Vampire Weekend” is emerging from the NYC smog is to remind fans that the same band that recorded Contra and their self-titled debut is the same one that is recording this one.
    Track 1: Obvious Bicycle
    It’s an appropriate start to the album. It’s slow, smoky, and spooky. It sounds like the hollow ghost inside VW that we never knew existed coming out and speaking. It’s a song presenting you with the idea that the band really has possibly “grown up”. It ends with a few measures of piano that attach to you if you listen close enough and really distracts you away in an alternate universe of VW. (8.5/10)
    Track 2: Unbelievers
    A track that presents a little of that good old “VW prep vibe” to the listener without them thinking that MVOTC will create the same feel as previous VW LP’s. It’s quicker without leaving you in the dust. Track 2 hands out the religious ideal that people are almost destined to fail disguised in a halfway gloomy hit. (8.3/10)
    Track 3: Step
    Now the album starts that sway away again from the old VW. Choir voices are almost hidden in the background. The bass and drums are calm and curious. Ezra Koenig (the lead singer) knows the band has changed. He lets you know and you now know you aren’t going to soon forget it. It’s a tale of breaking away from the previous memories and creating new and more adult ones. (8.5/10)
    Track 4: Diane Young
    As if the play on “Dying young” wasn’t enough, VW also generated a killer sax backing groove and the addition of the voice box to add to the song. It’s the most “pop” song on here with a simple story about a girl named Diane Young lighting a car on fire and the activity and thoughts that ensue after. It’s like funk and punk had a baby. (8.4/10)
    Track 5: Don’t Lie
    You feel another emotional and tempo change of flow with this song. It’s a solid tune that presents the other idea that VW is growing up and packing youth up in the attic. Ezra sees that everyone is going to die and it’s time to stop YOLO-ing and start looking at the world like adults should. He wants you to stop lying to yourself about your age. (7.7/10)
    Track 6: Hannah Hunt
    Hands down my favorite song off of MVOTCand possibly my all-time favorite VW song. The story is simple. A boy (Ezra?) and a girl (Hannah Hunt) are on the rocks. The longer they go, the worse it gets. The song is slowly rocking, like the waves at the Santa Barbara beaches. Ezra knows Hannah is a special girl but his constant mistakes are too much for her to bear and it must end. The flow quietly builds, until the explosion of piano, percussion, and the ecstatically electrical voice of Ezra’s breaks through and hurls you into a brief state of emotion created by music that VW has never produced and is very rarely heard. Read the story on why Ezra used Hannah Hunt as a name (she’s a real person with connections to him). The song was written about eight years ago but Ezra claimed that VW never truly got it right until now, and I’d have to agree with that. (9.4/10)
    Track 7: Everlasting Arms
    Religion is the main focal point in this track, as Ezra questions the authority and role of God in the real world. The beat is catchy and the lyrics are questioning, but a darker approach could really capture the ideal that VW is trying to present in a different light. (7.3/10)
    Track 8: Finger Back
    The drums explode, the synth peeks through, and Ezra’s vocals are loud and a little overdone to represent the complaints of people in this song analyzing the places of social status. Religion once again makes a detailed appearance in the track. (7.0/10)
    Track 9: Worship You
    Guess what, another song with religion as the main focal point. Ezra again asks God what he wants from his people. He wonders how much devotion, praise, and faith God really desires and if the people that are here now, being so bipolar in faith, are really his true worshipers. The song’s rhythm is quite quick. Once again, a darker approach with each of these last three songs could probably get the point across more. (7.2/10)
    Track 10: Ya Hey
    The song’s title is a play on “Yahweh”, a Jewish God reference and is vague and ghoulish. The lyrics question the relevance of people in God’s eyes and God in people’s eyes and ponders if love exists between the two. It’s slow, dramatic, antique, and misty. Great song all throughout and makes multiple Moses references and even a Stones one. (8.4/10)
    Track 11: Hudson
    Hudson is easily the most un-Vampire Weekend song on the album. It’s an historical ode to the Hudson Bay and River in NYC, where all the band members grew up. Ezra turns it into a worrisome song about impending death and war. It’s the spookiest song and for a good reason. It would be the perfect song to visualize the seconds before death and destruction that he believes may come soon. Ezra looks at the history of America and what it’s come to. Haunting and memorable. (8.7/10)
    Track 12: Young Lion
    There’s something I see in this under-two minute song finishing off the album. It’s disillusioned and wavy. Calm yet questioning. It’s simple enough that the only line in the song (“You take your time, young lion”) wrap up the struggle that the band is seeing with maturing. But they end by feeling that with time, their place in the world will come alive. (8.0/10)
    8.3/10
    Most Favorite Tracks: Hannah Hunt, Obvious Bicycle, Hudson, Step
    Least Favorite Tracks: Finger Back, Worship You
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  26. Jun 15, 2013
    0
    I love the first 2 albums of Vampire Weekend. They are energetic and spontaneously played! Almost every song makes me move and believe me I am not a dancer. I was looking forward for their 3rd album, the critics were positive... To be honest: it was a great disappointment the first time. I tried a 2nd time; let it rest for 2 weeks and tried a 3rd time. No improvement in my experience. Probably the album has been over produced/thought and the music does not embrace me as the first 2 albums.
    I will continue listening the first 2 albums and try to forget this bad experience. It was such a disappointment that I created a account on this fantastic site to share the thoughts of Vampire Weekend lover with you.
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  27. Jun 14, 2013
    6
    I loved this band's first two albums, too bad they changed up their style here and ditched the funky afrobeats and synths. Some good tracks on here, but overall this album just isn't as fun as I'd hoped after hearing two pretty strong singles in Diane Young and Step. Maybe it'll grow on me!
  28. Jun 13, 2013
    9
    For a band that made its name by being the refreshingly unique, Afro-pop-influenced group that birthed the rambunctiously catchy single “A-Punk,” you’d think Vampire Weekend would have run out of ways to continue evolving.

    You might think that, but you’d be wrong.

    On 2013’s “Modern Vampires of the City,” the quartet of fresh-faced East Coast rockers have perfected their
    almost-purposefully imperfect sound and created what is the band’s most mature album to date.

    Don’t be fooled, though; the record is still filled with frontman Ezra Koenig’s classic pseudo-nonsensical lyrics, rhythms that will have you tapping your feet and musical motifs that sound like they’ve been lifted from a 17th-century baroque piece.

    Still, the group whose prior releases embodied the sheer liberty of youth seems to have taken a large step forward into the realization that as life goes on, drinking horchata in a balaclava and gazing out the window into an Ivy League courtyard start to seem less and less important.

    On “Step,” the restrained, introspective first half of the album’s dual-lead singles, Koenig sings of youth but from an entirely different perspective than on prior releases. “Wisdom's a gift, but you’d trade it for youth,” he croons.

    Similarly, on the dreamlike, borderline-stream-of-consciousness track “Hudson,” the singer again takes a stab at Father Time. “The time has come, the clock is such a drag All you who change your stripes can wrap me in the flag,” he chants all before transitioning seamlessly into the piano-laden “Young Lion,” where Koenig, in a hushed tone, repeatedly sings the line, “You take your time, young lion.”

    The album isn’t entirely filled with coming-of-age mantras about getting older, though. “Finger Back” has all the bounce of tracks like “Cousins” and “Walcott” (multi-instrumentalist Rostam Batmanglij absolutely shines on the album) and “Diane Young” (a not-so-veiled play on the words “dyin’ young”), is the perfect summer anthem especially if your summer is spent cruising with the top down of your dad’s old ’92 Saab 900 on your way to Montauk.

    For all its quirks and oddities, Vampire Weekend has gone from the tongue-in-cheek, wanderlust-obsessed band you fell in love with and finally found a home while still managing to remain true to who they’ve been all along.

    Full of heart and not afraid to take chances, “Modern Vampires of the City” proves that the band’s fleeting sound is absolutely permanent.

    Rating: 9/10
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  29. Jun 2, 2013
    9
    One of two best release of this May release. Vampire Weekend shed their Afrobeat signature and replace it with something totally different. If you really into Contra and their debut album, it might take some spin to swallow it through. Highlight tracks: Step, Diane Young, Worship You
  30. May 27, 2013
    9
    Its been 17 days since "Modern Vampires of the City" was released. I don't know about you but i've been giving this record a whole lot of attention and i have got to say i am impressed. Vampire Weekend has been releasing great music since their debut self titled album dropped in 2008. The band also took a huge step forward by truly forming a unique sound with their sophomore album "Contra". With this new record it's clear that they knew what they had to do to perfect a sound that no other band has. LP3 opens with "Obvious Bicycle" a great way to begin this album this track is full of cool harmonies and awesome synthesized effects with some great lyrics. The second track is Unbelievers" and this is one of my favorite songs that Vampire Weekend has released. its rememberable, catchy, and just hands down amazing. Track Three is titled "Step" which is one of the tracks they released first. This track might be my favorite track Vampire Weekend song to date. it is just beautiful from start to finish. it has amazing instrumentals and perfect lyrics, definitely a highlight of the album. Track four Diane Young" another single they dropped. This track is another perfect track with really funky creative fun instrumentation and crazy cool lyrics. Track number five "Don't Lie" is another track that has phenomenal lyrics and a fun melody. Along with tracks Unbelievers" and Worship You", Don't lie is a track where you can tell the lyrics that seem like they have to do with personal religious beliefs. you can really tell they put all their heart into making these songs which is what i believe is the most important thing in making music. track six "Hannah Hunt" this is song has a phenomenal breakdown which just makes this track so much more incredible then it already was before the breakdown. Another perfect track from this album. Track seven Everlasting Arms" my personal favorite from this album it's just so fun and so inspirational it shows that not all songs have to be super complex. i also love the way they use vocoder on this song. Track eight Finger Back" this track starts off with a very poppy fun rhythm and to me feels most like their older music. i also love the chorus. However the bridge i am not to fond of but besides that i really enjoyed this track. Track nine my least favorite track on this record i like the lyrics and i don't think it's a bad song it's just not my favorite. Track 10 Ya Hey" i really like this song and it's funny because i have heard people say they don't like the chorus but i actually think it's my favorite part of this song. Track 11 "Hudson" this song has a spooky feel to it and i love it. In my opinion it's the best way they could've ended the album i actually think this song should've been the last song on this album. The final track on this album is called "Young Lion" this song has a really nice classical piano feel to it what i enjoy i just think it could have been better, but i don't get me wrong i do like this track. This album is amazing and very close to perfect if this album had maybe a couple more songs like "Unbelievers" and "Diane Young" it would've been a perfect 10. I give Vampire Weekend's third full length album "Modern Vampires of the City" a solid 9 out of 10. Expand
  31. May 26, 2013
    7
    Like most indie bands that acquire success early on, Vampire Weekend made the classic beginner mistake of using every effect in the studio on their sophomore album. They created a bouncy, colorful album with a lot of pop and in a strange way, lacked the spontaneity and originality of the debut. With their latest attempt, Vampire Weekend take a step back from this neon world in favor of a much darker, more mature sound. Sonically, it sounds much more similar to the sounds on the debut, but lyrically it steps away from collegiate themes for philosophy. Ezra Koenig is wise beyond his years with almost every lyric sounding like some long lost proverb, "Wisdom's a gift but you'd trade it for youth," "Stale conversation deserves but a bread knife." The album is also not only a collection of songs but truly an album experience. Overall, it is near flawless. The only downside is that every time Vampire Weekend do try to use an effect, they do so at the sacrifice of the song. The pitch shifting is annoying, disappointing, and cheesy. Hannah Hunt is a beautiful song that can change you, but at the most moving part of the song, they pitch shift Ezra for the worse. It feels like a mistake. And then there is Ya Hey. A song that is insanely catchy but sounds like Vampire Weekend featuring Alvin & the Chipmunks. Rather than an existential, ironic pop masterpiece it feels more like Fish Heads by Barnes & Barnes. Expand
  32. May 26, 2013
    7
    Very good album, though for me not as good as there previous two albums. It starts out really well with three top notch songs, and then Diane Young(which sounds like Elvis, Billy Joel, and George Michael had a baby) which is a little annoying, but enjoyable enough. Don't Lie, Worship You, and Everlasting Arms are all worthy songs but don't really go anywhere in particular. Hannah Hunt is one of the albums best, as is Step. The song Ya hey is possibly the least engaging on the album, with a lilting melody and the most annoying chorus sounds I have heard in a long time (a little like Fozzy Bear on Helium or something). Overall there is more to like than dislike, which is a good thing if you like Vampire Weekend as the third album usually is the stick in the mud for many groups. Expand
  33. May 25, 2013
    9
    A fantastic record from start to finish. Modern Vampires is a solid, confident and intelligent album from a band that finally is starting to show some maturity and breadth. Their best effort to date.
  34. May 22, 2013
    10
    Before Modern Vampires, these guys were a guilty pleasure. Fun and catchy as hell, but phony and often shallow. All that's gone now. What we get is essential, beautiful and adventurous indie pop, sophisticated songwriting and emotional lyrics. Can't get enough of it.
  35. May 20, 2013
    6
    The production is top notch, that's for sure. Yet, their sound doesn't really go anywhere. By all accounts, it's another Vampire Weekend album, which are generally good, but leave something more substantial to be desired.
  36. May 20, 2013
    10
    What an amazing album, an engrossing 3rd chapter that makes for an enjoyable listen along with the past two albums. It's a concrete step forward for Vampire Weekend that has already managed to get me excited for whatever the band is gonna do next! but thankfully I have 3 incredible albums to listen to while I wait.
  37. May 19, 2013
    10
    This is, seriously, Vampire Weekend's best album to date!! At 12 songs, the album is altogether catchy, thought-provoking, and even at times, disturbing. Lyrically, the album is ingeniously made and all the tunes are expertly crafted. I've been waiting for this album for some time now, and after finally hearing it, I can safely say that this is the group's best album and one of my favorite albums ever!! Expand
  38. May 18, 2013
    9
    A bold and confident album. The guys sound like they're making exactly the music they want to make and having fun while doing so. A bit more mellow on balance than their first two albums, so if you're craving the up-tempo pop that dominated their first two albums, this won't scratch your itch. But if you're looking for well-crafted music that'll make you stop what you're doing and pay close attention, it will. Expand
  39. May 16, 2013
    10
    Any band that can produce three great albums in a row deserves respect. Modern Vampires of the City is a testament to Vampire Weekend's continued relevance in today's ever changing music industry. I believe that future generations will remember them as one of the most notable bands of this generation. Poppy but not annoying. Catchy but not saccharine. This album is an evolution for Vampire Weekend, and it is their most varied album to date. Still, there is an underlying cohesion that effortlessly ties the varied songs together. It is an early contender for album of the year, but there are other great releases to anticipate in what remains of the year. This is just one music lover's opinion. Take a listen and make your own judgment. Expand
  40. May 16, 2013
    10
    Vampire Weekend's latest effort epitomizes everything that a rock album should be in the year 2013: energetic, moving, and feeling fresh, while undoubtably showcasing a plethora of influences. From "Tusk" era Fleetwood Mac ("Finger Back") and "Remain in Light" era Talking Heads ("Everlasting Arms") to a sound that's uniquely Vampire Weekend ("Unbelievers"), the group of former Columbia students have become experts of their craft on "Modern Vampires of the City." Without a doubt, Ezra and co's newest album came perfectly in time for the summer and will definitely stand the test of time. A must-have. Expand
  41. May 16, 2013
    10
    This review contains spoilers, click expand to view. Wow! Vampire Weekend is a new discovery for me and I don't know why I never listen to this group before!! Their songs are all unique and in each song there is something special and different than the others Great album! Love it! Expand
  42. May 16, 2013
    9
    Modern Vampires of the City is an explosive third record by Vampire Weekend. It's easily some of the smartest, ambitious, and catchiest pop music I've heard in quite some time. Vampire Weekend went from preppy, polo-wearing self-indulgent young men that really enjoyed their afro-pop records to now older gentlemen that can't seem to shake off the feeling of death at every corner. It's a huge maturation that they hinted at with Contra, but now seem to fully embrace with this new record. The production this time around is much more ambitious, and Ezra's lyrics and vocals have matured as well to even more bliss.

    All In All, Vampire Weekend craft their biggest record yet, and is so far my favorite of 2013. A-
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  43. May 16, 2013
    9
    MVOTC is an album that throws almost everything you know about Vampire Weekend out the window and starts fresh. It's inviting, creative, and overall unlike anything I've heard this year. Koenig's songwriting remains my favorite part of the band, especially with songs like Step and my favorite track Hannah Hunt. There is something so mysteriously beautiful about Hannah Hunt that I can't quite put my finger on but the emotion it forces you to experience is almost heavenly and leaves you numb. The first half of the album is better than the second half but overall it is an LP you can't afford not to listen to. Hats off to Vampire Weekend for experimenting with a feel they have not yet done and their resulting accomplishment is fantastic. Expand
  44. May 15, 2013
    10
    amazing record, really more quiet sound but vampire weekend pull it off, the lyrical content is really deep and metaphorical on this record really more grown up sound overall, the records sounds pretty perfect to me
  45. May 15, 2013
    10
    They say you shouldn’t judge a book by its cover, and I’ve always assumed the same to be true for albums. Really cool album art doesn’t necessarily ensure that the album within will be good, and vice versa. That’s seems like a simple fact. I’ve always tried to let musicians’ visual imagery take a backseat to their music. But Vampire Weekend is a different story because their visuals are so inviting. As a band, Vampire Weekend has always been obsessed with the thematic aesthetics that surround their music. Each of their album covers feature the same block letter font and white trim, giving their catalogue a visually cohesive, instantly collectible look. Additionally, each cover captures the mood of the album it represents. The image of the blurry chandelier hanging above what looks like a college party that served as the cover to the band’s debut spoke to the restless youthfulness at play on that record. The confused looking (and in the end, litigious) model on Contra’s cover reflected the band’s progression into a slightly darker, more complex sound, both lyrically and musically....

    Read More at: http://www.recomedia.net/music/vampire-weekend-modern-vampires-of-the-city-review/
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  46. May 14, 2013
    8
    A brilliantly thought out and meticulously detailed and executed album. From beginning to end, Vampire Weekend never cease to impress with perfectly crafted songs, taking you through a calming yet exhilarating album; definitely their best effort.
  47. May 14, 2013
    9
    Their best work yet.

    If "Vampire Weekend" was their freshman year, and "Contra" a sophomore effort, "Modern Vampires of the City" is an upperclassman affair. Punctuated by both pop-centric tunes and deep cuts, the album is nearly faultless in its diversity.

    Stand out tracks: Unbelievers, Everlasting Arms, Ya Hey
  48. BKM
    May 14, 2013
    6
    Vampire Weekend's third album finds the indie-rockers making a deliberate effort to push their music in new directions. After two hugely entertaining gems full of irresistible ear candy, Modern Vampires of the City puts the catchy hooks on the back burner in favor of dense arrangements, sonic experimentation, electronic elements and a darker vibe overall. The result is an album that is ambitious but a little bit boring. VW clearly don't want to stay in the comfort zone they carved out on their first two outings, but album number three is the sound of a group in transition and not quite the masterwork that they are capable of. Hopefully they will pull everything together next time out. Expand
  49. May 14, 2013
    9
    Awesome effort by VW. They manage to keep things fresh, while still maintaining their charm. Album highlights include: Obvious Bicycle, Diane Young, and Ya hey.
  50. May 14, 2013
    6
    After the masterpiece, "Contra", Vampire Weekend has stopped innovating on "Modern Vampires of the City". Instead, they mostly just rehash their previous songs or other people's styles/songs. "Diane Young" sounds like an Elvis song that has a punk edge, and it's first chorus is annoying with the voice affects. "Everlasting Arms" sounds like the song "Giving Up The Gun" from "Contra". "Worship You" sounds like an Irish jig. "Step" uses the same song as a common wedding song. "Unbelievers" reminds me of the song "Gimme Some Lovin'" by the Spencer Davis Group.

    Now there are some good songs here: "Don't Lie", "Hanna Hunt", and "Ya Hey". The latter one though suffers from some annoying squeaky sounds in the chorus, but the emotions in the song are top notch.

    "Obvious Bicycle", "Hudson", and "Young Lion" are all just slow, boring songs in my opinion.
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  51. May 14, 2013
    10
    Haters beware. This is the album that change your entire outlook on Vampire Weekend. Gone are the peppy, Afrobeats and Synths that dominated the first two records. Gone (for the most part) are the ivy-leaguer lyrical references. Instead Vampire Weekend gives us their most concise, beautiful, and varied album. Difficult without actually challenging the listener, because the pop hooks are so good. Through and Through it's still a Vampire Weekend album; you can hear it in the "M79" strings of "Don't Lie" or the up-tempo "a-Punk" beat of "Unbelievers," but this album takes those ideas found in previous albums and takes them in interesting directions. There is never a dull moment on the record; the songs continually shift and distort until their conclusion. I can't think of a better album or direction Vampire Weekend could have taken. Easily their best work yet, and quite possibly the album of the year already for 2013. Expand
  52. May 14, 2013
    8
    Modern Vampires Of The City is Vampire Weekend's evolution in sound yet again, providing a more chilled, eerie vibe than their past two albums. While die-hard fans of Contra and the debut may find it harder to get into, it's destined to grow on you after spinning it a few times.
  53. May 14, 2013
    9
    This is one of the most beautiful album of 2013. Unique and really interesting lyrics with a beautiful rhythms. These rhythms are really catch the human's soul and don't release until song is ending. Unquestioningly that's a catchy album. Love it.
Metascore
84

Universal acclaim - based on 51 Critics

Critic score distribution:
  1. Positive: 45 out of 51
  2. Negative: 1 out of 51
  1. Oct 4, 2013
    67
    If Modern Vampires of the City makes one thing clear, it's that Vampire Weekend's just getting started here.
  2. 80
    Overall, Modern Vampires of The City sounds fantastic, but not overproduced.
  3. Jun 4, 2013
    60
    While MVOTC doesn’t represent a seismic leap from their earlier material, the general feeling is of a much more considered collection, with greater emphasis on song craft.