My friend Alex Klein and I have been arguing about Vampire Weekend for about a year. He thinks they're great, I think they're overblown amateurs. But in an interesting development in our debate, Alex was a bit peeved by a recent NPR review of the band's album, which he thinks ignored the inherent contradiction of a band that sells itself as privileged playing music largely influenced by punk. Here's a bit of what he had to say:
The reviewer emphasized the punk bit (did you listen to the audio version? she plays clips from their album where they're doing the whole "oi oi oi" schitck). But she also seems to celebrate the way this band is self-consciously pitching themselves as the next best thing since Rob Lowe started rocking Ralph Lauren. She didn't even think it was worth remarking on the fact that these guys celebrate richness and privelege by co-opting a musical form that came about as an attempt to celebrate the working class.
I thought that was an interesting point, but I surprisingly find myself (somewhat) backing Vampire Weekend. To play devils' advocate, one could argue that mixing working class musical forms with upper class lyrics is in itself an act of cultural discourse, not co-option. In the article on Vampire Weekednd (VW) in the latest issue of Spin, the keyboardist for VW mentions Jean-Michel Basquiat as a personal hero. Basquiat regularly worked with themes of image, class, race and perception. The interviewer also discusses the singer's experience teaching in Bed-Stuy. No middle/upper class white person teaches in Bed-Stuy without being knowingly forced to deal with class consciousness on a daily basis. I don't think VW take their privilege for granted. I think they are extremely self-conscious of it and of the cultural disconnect between them and their musical influences. I would even venture to say that the band purposely made musical choices in the hopes that these kinds of discussions of class and culture would occur,if for no other reason than it would produce press. But despite their class consciousness, VW still appear to be quite comfortable in their perch of entitlement and are not a "message" band (as opposed to their oft-cited influence, Paul Simon, whose Graceland album was made in part to address political issues in South Africa and the United States.) Politics for VW is a commercially beneficial by-product of the music, as it has been for other “co-opting” bands such as The Police, Talking Heads and The Beastie Boys. VW are simply an indie-pop band using African musical idioms as their mode of delivery and hype. As opposed to someone like Peter Gabriel, who used world music idioms as a means to bring awareness of international politics and injustices. Or a band like Dengue Fever, who are a hyped cambodian pop band using indie-rock idioms as their mode of delivery. But I digress…
An artist can draw from whatever sources they enjoy without feeling obligated to adhere to the source material's context. For example, if I want to sample recordings of slave work songs and put a beat over it, I don't need to add my own commentary on the nature of commerce and race. Likewise, Vampire Weekend do not need to be sympathetic to the ideology of punk or afro-pop in order use their forms. However, the musical technique used in incorporating these musical forms is critical in establishing artistic credibility and success. In other words, the musician (to an extent) must be able to play within the form and demonstrate an understanding of its aesthetic before recontextualizing it.
In the case of punk, I think VW is on solid ground. Contrary to the opinion of NPR and many music critics, most of the guys in VW cannot play their instruments. A lack of musicianship was pretty much the prime prerequisite for punk and was also a large part of its democratizing appeal: the fact that literally anyone could play it. Where VW falter is in their lazy interpretation of African music, and this issue is (ironically) almost entirely due to the drummer’s punk technique. For what I think is a fair comparison, listen to any mid-late 1970s recordings of Elvis Costello and the Attractions. Pete Thomas was by no means a reggae drummer, but he had enough pocket, technique and creativity to incorporate some of reggae’s rhythmic idioms into the songs written by Mr. Costello, which had a jerky punk feel. VW’s drummer doesn’t have the technical facility to successful pull off that kind of alchemy and the result is brutishly crass. The band’s acceptance of this less than academic approach to cultural rhythm speaks more to their entitlement and class than their more easily digestible punk influence. It’s the musical equivalent of watching “The Wire” in a beach house on Cape Cod: a self-serving act that allows for class sympathy while having no real investment in cultural dialogue or change.
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