Album reviews
Featured review: Vampire Weekend
Contra, XL Recordings
B-
DURING THESE LONG winter months, sometimes you just need a taste of something tropical. Look no further—Vampire Weekend will bring sunshine to your stereo with their new album Contra. The first track, “Horchata,” pulls you in with simple, high-pitched, Carribbean-sounding beats. But, after a while, the songs start sounding a little too much alike. Themes and melodies blend together from the album opener straight through to its closing track “I Think Ur A Contra.” The song “Taxi Cab,” one of Vampire Weekend’s rare softer pieces, is a surprising break from the island fever. With high-pitched piano notes and toned-down singing, it almost feels like the song doesn’t belong on the very upbeat album; but it is a side of the band that we rarely get to see, which is always welcome. Contra is not a groundbreaking new idea in music, but it represents Vampire Weekend’s preppy style well. If nothing else, it will warm you up on a cold day. —Jane Lytvynenko
Nick Jonas and the Administration
Who I Am, Hollywood Records
F
WHEN I SAW the title of Nick Jonas’ new album, I squealed with excitement. Finally, I hoped, we will find out all of the deep, dark, and very dirty secrets about our favourite Jonas brother. Unfortunately, I was very, very wrong. This was not an hour-and-a-half-long confession of Nick Jonas’s detailed sex life; no, it wasn’t even Nick admitting that he had a secret drug problem. It was a total of 10 songs performed in a whiny voice and an overemphasized lisp. Once I got over the speech impediment, it became clear that the album is nothing more than a collection of songs made exclusively for brainless 12–14 year old girls to drool over. There is nothing romantic or musically impressive about indecipherable lyrics or the attempt to seduce the very illegal underage female population. Nick Jonas’s solo album has more extra vocals than Britney Spears has back-up dancers. I just hope Nick doesn’t pull an “Oops! …I Did It Again” and try to continue his music career with another horrible record. He would make a better back-up dancer than singer—at least then our ears will be spared and our youth protected. —Jane Lytvynenko
William Basinski
Vivian and Ondine, 2026 Records
C+
OVER THE YEARS, New York-based musician William Basinski has been releasing intricate, musical experiments that deal with the transient nature of existence. For instance his 2002 masterpiece, The Disintegration Loops, consisted of ethereal tape loops from the 1980s being transferred to a digital format in the 2000s. As the transfer happened, the tape slowly destroyed itself due to being old and worn-out. The subsequent recording consisted of ambient melodies that would eerily erode away as the sound succumbed to the ravages of time. A similar design was used for Vivian and Ondine, which is Basinski’s 16th release. The music here, though also crafted from ancient tape loops, doesn’t disintegrate. The record, which was allegedly Basinski’s way to coax his brother’s overdue baby to be born, comprises the repetition of a dirge-like orchestration that was seemingly recorded in some massive, echoing cave. Given what influenced this recording, the concept should be more uplifting than the epic, grim fatalism of The Disintegration Loops, but it is similarly funereal in tone. It is still a meditative experience but lacks the originality and grandeur of his previous work. Open-minded listeners will find it captivating but may deem it unnecessary for repeat playthroughs. Others will be shocked by how boring it is. —Danyal Khoral
Martha and the Muffins
Delicate, Muffin Music
A-
ALTHOUGH IT TOOK them nearly two decades to release any new material, Martha and the Muffins latest release, Delicate, is a solid return for the venerable Canadian New Wave band. In contrast to their synth-heavy ’80s hits like “Echo Beach,” Delicate is a much more traditional-sounding pop-rock album. Lead singer Martha Johnson’s voice has matured significantly in the years since the band’s last major release (1992’s Modern Lullaby), and her smooth vocal stylings sound like they would be at home leading a big band jazz group. Beyond Johnson, the album is chock full of slick guitar and bass work, especially on a track like “Drive,” which opens the album with a catchy hook to pull listeners into the music. Other songs are more reminiscent of the band’s New Wave roots, such as the keyboard-heavy “Mess.” Overall, Delicate is a triumphant return for a long-absent Canadian band, and an excellent album that leaves the door open for more quality music from Martha and the Muffins. —David McClelland
