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Vampire Weekend Self Titled Album Download Rar Vampire Weekend Self Titled Album Download Rar vampire weekend self titled album download rar Vampire weekend self titled album download rar. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67ad7493387f15fc • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Vampire Weekend. With the Internet able to build up or tear down artists almost as soon as they start practicing, the advance word and intense scrutiny doesn't always do a band any favors. By the time they've got a full-length album ready to go, the trend-spotters are already several Hot New Bands past them. Vampire Weekend started generating buzz in 2006 -- not long after they formed -- but their self-titled debut album didn't arrive until early 2008. Vampire Weekend also has just a handful of songs that haven't been floating around the 'Net, which may disappoint the kind of people who like to post "First!" on message boards. This doesn't make those songs any less charming, however -- in fact, the band has spent the last year and a half making them even more charming, perfecting the culture collision of indie-, chamber-, and Afro-pop they call "Upper West Side Soweto" by making that unique hybrid of sounds feel completely effortless. So, Vampire Weekend ends up being a more or less official validation of the long- building buzz around the band, served up in packaging that uses the Futura typeface almost as stylishly as Wes Anderson. At times, the album sounds like someone trying to turn a Wes Anderson movie back into music (it's no surprise that the band's keyboardist also writes film scores); there's a similarly precious yet adventurous feel here, as well as a kindred eye and ear for detail. Everything is concise, concentrated, distilled, vivid; Vampire Weekend's world is extremely specific and meticulously crafted, and Vampire Weekend often feels like a concept album about preppy guys who grew up with classical music and recently got really into world music. Amazingly, instead of being alienating, the band's quirks are utterly winning. Scholarly grammar ("Oxford Comma") and architecture ("Mansard Roof") are springboards for songs with impulsive melodies, tricky rhythms, and syncopated basslines. Strings and harpsichords brush up against African-inspired chants on "M79," and lilting Afro-pop guitars and a skanking beat give way to Mellotrons on "A-Punk." It's a given that a band that's this high concept has hyper-literate lyrics: the singer's name is the very writerly Ezra Koenig, and you almost expect to see footnotes in the album's liner notes. Once again, though, Vampire Weekend's words are evocative instead of gimmicky. The irresistible "Cape Cod Kwassa Kwassa" rhymes "Louis Vuitton" with "reggaeton" and "Benneton" and name-drops Peter Gabriel (though it's clear the band spent more time with Paul Simon's Graceland) without feeling contrived. "Campus" is another standout, with lines like "I see you walking across the campus. how am I supposed to pretend I never want to see you again?" throwing listeners into college life no matter what their age. Koenig has a boyish, hopeful quality to his voice that completes Vampire Weekend, especially on bittersweet but irrepressible songs like "I Stand Corrected" and album closer "The Kids Don't Stand a Chance." Fully realized debut albums like Vampire Weekend come along once in a great while, and these songs show that this band is smart, but not too smart for their own good. Cults - Static (2013) [Hi-Res] Artist : Cults Title : Static Year Of Release : 2013 Label : Columbia Genre : Indie Rock, Indie Pop Quality : 16-bit/44.1kHz FLAC; 24-bit/48.00 kHz FLAC Total Time : 35:00 Total Size : 236; 422 MB WebSite : Album Preview. Static is the follow-up to Cults' critically adorned 2010 self-titled, debut release. Written and recorded over the course of 2012 in the band's home base of New York City, Static is produced by Cults with support from Shane Stoneback (Sleigh Bells, Vampire Weekend) and Ben Allen (Animal Collective, Washed Out). The album is comprised of 11 tracks including "I Can Hardly Make You Mine" and first single "High Road." Cults is the genesis of Madeline Follin and Brian Oblivion, who mysteriously appeared in the spring of 2010 with their viral single "Go Outside." Acclaimed for what the New York Times describes as an "entrancing and intuitive strain of indie rock indebted to clean-cut '50's rock with flashes of '60's haze," Cults were additionally praised by NPR, Pitchfork, Los Angeles Times, and Spin for their outstanding debut album. Tracklisting: 01. Cults - I Know (1:42) 02. Cults - I Can Hardly Make You Mine (3:31) 03. Cults - Always Forever (3:44) 04. Cults - High Road (4:29) 05. Cults - Were Before (3:01) 06. Cults - So Far (3:29) 07. Cults - Keep Your Head Up (3:39) 08. Cults - TV Dream (1:03) 09. Cults - We've Got It (3:26) 10. Cults - Shine a Light (3:14) 11. Cults - No Hope (3:44) Vampire weekend self titled album download rar. Banda: Eskimo Callboy Origem: Castrop-Rauxel País: Alemanha Gênero(s): Metalcore Período: 2010 - Atualmente Eskimo Callboy is a German metalcore band formed in Castrop-Rauxel in 2010. The first self-titled EP was self-released in 2010 and was distributed via EMP. Later the band re-released the EP via their actual recording label Redfield Records. The band was support act for groups like Bakkushan, Callejon, Ohrbooten, We Butter the Bread with Butter and Neaera. Vampire Weekend Vampire Weekend. If you’re to believe the wildly unfair amount of hype surrounding Vampire Weekend’s self-titled debut album, the Columbia University students who formed the band are one of the greatest things to happen to popular music since The Strokes sparked new life into rock and roll at the turn of the century. The hype, which on the basis of a few demo tracks has been festering and exponentially expanding since early 2007, will suggest that Vampire Weekend’s tribal African rhythm sections, classical music loving orchestral arrangements, and pristine pop melodies are some of the most innovative combinations since sex and candy. This is, of course, an absurd and desperate claim to hurl upon any band, especially one that is in the mere infancy of its life. Although Vampire Weekend are indeed an incredibly talented group of musicians, and although the overarching aesthetic which defines their sound is a breath of fresh air, the group’s debut can’t ever quite match up to the delusions of grandeur it has been assigned. Instead Vampire Weekend have put together a cohesive, well-executed batch of songs that are consistently pleasing but never astounding. Vampire Weekend should hardly be criticized for such a feat, though, because even though their record lacks the replay value of a timeless classic, “Vampire Weekend” is an album nearly anyone can enjoy. Most of this can be attributed to the well-polished, clean feel of the album, as well as the fact that “Vampire Weekend” places a clear emphasis on distinct, easily accessible pop as opposed to the sludge and dirt of a more rugged, distorted rock record. Every single note, of every single song rings out clearly. It doesn’t take much more than a listen to the catchy bounce of “Oxford Comma” for this fact to settle in. The track hops along behind a steady mellotron as lead singer/guitarist Ezra Koenig casually exercises his effortless vocals through one of the catchiest sing-along tunes on the album. Likewise, “Cape Cod Kwassa Kwassa” and “M79” are meticulously crafted gems that illustrate the fact that Vampire Weekend put an intricate amount of effort and detail into each song. On “M79” dueling violins restlessly whirl about with such force that the track nearly captures the experience of a live symphony and “Cape Cod Kwassa Kwassa” utilizes a laconic bongo to hold the beat before closing the song with a keyboard riff not far from something Bach might have written. That said, not all of “Vampire Weekend” is the band’s own unique version of Afro-pop, nor is it all worthwhile material. “Campus” is about the closest Koenig and company come to writing a conventional indie rock song, but after a listen or two the song is just that. Conventional and boring. The same can be said for the majority of the back half of the album with the notable exception of “I Stand Corrected,” a nostalgic, piano- driven lament that borders on doo-woop before eventually bringing to mind the Arctic Monkeys in one of their finer moments. Perhaps more noticeably, album closer “The Kids Don’t Stand a Chance” sounds like a Vampire Weekend cover of The Police, although I might only be saying that because Koenig does a spot-on Sting impersonation throughout the entire song. Regardless, the song mixes everything that is Vampire Weekend, swirling strings, a thumping bassline, and precocious keyboards. In the end, “Vampire Weekend” is undeniably a fine debut record from a band that clearly has loads of potential and songwriting ability.
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