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Vampire Weekend After Party @ Wrongbar at Wrongbar

Toronto Event Date: Tue, March 30, 2010 – Wed, March 31, 2010

Neighbourhood:
parkdale, west queen west
Activity:
play, dance, party, celebrate
Venue type:
bar, dance club, lounge
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Music:
indie, new wave, alternative
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1279 Queen Street West
Toronto, ON M6K 1L6

416-516-8677

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Event Description


Vampire Weekend After Party @ Wrongbar

TUESDAY MARCH 30 2010

Embrace presents The Official Vampire Weekend Afterparty

BAIO | VAMPIRE WEEKEND DJ SET

http://www.myspace.com/vampireweekend

with GEOFF SNACK and Special Guests

19+ 11PM

Limited $12 Advanced tickets available at Rotate This and Soundscapes
and online at ticketweb.ca:

RSVP TABLE RESERVATIONS: bottles@wrongbar.com

WRONGBAR | 1279 Queen Street West, Toronto

—

BAIO | VAMPIRE WEEKEND

Chris Baio plays bass guitar in Vampire Weekend. He also DJ’s under
the name BAIO. Vampire Weekend’s CONTRA debuted at #1 on the Billboard
top 200 in its first week selling around 120,000 copies.

Some bands stay in a holding pattern their whole careers. Others jerk
the steering wheel hard and fly off the road. On their second album,
Vampire Weekend do neither. Or maybe they do both. “I think we sound
more like Vampire Weekend than we did on the first record,” says
drummer Christopher Tomson.

Contra pulls off a series of impressive feats: It’s bustling with
fresh ideas, and yet it sounds immediately familiar; it’s heavily
layered but taut and kinetic; it chews ravenously through sound
palettes and rhythms, and yet it’s nimble and assured; it’s still
breezy, and yet it smolders with a newfound emotional heft. “It’s
sadder than the first one, a bit more sentimental,” says singer Ezra
Koenig. The songs are catchy, fast, twinkling, clattering the darker
themes of loss, doubt and regret accumulate almost imperceptibly, but
they land a powerful blow.

Ideas for this record had been bubbling since before the release of
their debut. The band started recording in January 2009, only two
weeks after finishing an 18-month world tour supporting their first
record. They had initially planned to work in California, feeling that
the new record’s spiritual home was the West Coast. The decision to
work in New York, however, ultimately provided the freedom and
perspective to properly realize their vision.

That March, the band toured Mexico for the first time. They recorded
new material blocks away from Frida Kahlo’s house in the Coyoacán
neighborhood of Mexico City. In Monterrey they found a kindred spirit
in DJ/Producer Toy Selectah, exchanging ideas and philosophies over
days spent listening to records in his home studio. They returned to
New York energized.

The finished product explodes any reductive notions of what
constitutes Vampire Weekend’s sound and aesthetic. The varied
influences here include third-wave ska, the Hallelujah Chicken Run
Band, Brazilian baile funk, Congolese thumb pianos, Repo Man,
Sublime’s 40 Oz. to Freedom, reggaeton, bachata, Bollywood, Philip
Roth, Beethoven, NYC 1983, dancehall, and the Beastie Boys’ second
album, Paul’s Boutique.

All of these influences are incorporated with subtlety and
sophistication, woven together into a seamless fabric of references
that, heard in full, resembles nothing so much as itself. Vampire
Weekend’s music and lyrics serve to both construct and deconstruct a
world around them. Like the word “contra” itself, the songs are
layered with meaning and invite interpretation. With this album,
Vampire Weekend have staked out an alien territory literate,
crackling, alive that’s unmistakably their own.



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