More than half of the songs on Modern Vampires of the City are about young people who hyperbolically conflate adulthood with death, or at least with permanently surrendering a sense of possibility and license for recklessness. Koenig’s characters sense doors closing behind them at every turn, and feel the weight of decisions they might have not considered to be particularly important even just a few years ago. For his protagonists, YOLO isn’t a declaration of freedom; it’s a nagging pressure to make the most of their finite youth.
I wrote an essay about Vampire Weekend’s new album, which is so far my favorite record of 2013. I’ve been dying to talk about it for weeks now; I’m pretty happy with how this came out.