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On first thoughts, the idea of Chris Baio moonlighting as a dance DJ and electronic artist might seem a little strange, but carry out some perfunctory digging on the Vampire Weekend backstory and it all starts to make sense. Prior to picking up the bass full-time, Baio spent his student years DJing and running a radio station where he not only discovered the Eastern and Western African music that would eventually inform a large part of the band's effervescent rhythmic backdrop, but also dug up UK house and electronic influences such as The Chemical Brothers and Prodigy. For his world tour press shots, Baio might cut a debonair figure clean-cut in a white suit, but catch his band live and you'll see the bassist pogo, strut and skip his way through the show with all the frenzied élan of a hopped-up clubber on the dancefloor of Manumission.

Where bandmate Ezra Koenig's foray into dance territory in recent years has led to collaborations with mainstream titans such as Major Lazer, Duck Sauce and SBTRKT, Baio has released a selection of low-key EPs while grappling with autodidactically learning the fundamentals of production. Here, however, it's not all machines and processes. 'Sister of Pearl', described by Baio as "a Bowie and Ferry-referencing throwback pop song," is propelled by blithe, staccato piano and twiddly synth flurrys, just as 'Needs' and 'Endless Rhythm' touch on Balearic pop and bounce with an insouciant groove that wouldn't sound out of place on an early MGMT track. Baio has stated Roxy Music as a major influence, and it can be felt in his breathy, richly enunciated vocals on 'I Was Born In A Marathon' as it morphs from techno into a surprisingly poignant, if not slightly non-sequitur commentary on military drone attacks.

To the uninitiated ear, the opening strains of 'All the Idiots' could pass as a Hot Chip song, but it's that dark brand of techno which Baio does best. The airy verses of 'Brainwash Yyrr Face' - the album's stand out moment - coast along like cirrus clouds, only to be interrupted with pitch shifted, Sophie-esque vocal samples and a syncopated 2-minute outro. Although The Names clocks in with just 9 tracks, the depth of theme, variety and overall production values give enough weight to the notion that Baio has bridged the gap from recreational hobby to serious solo artist. Vampire Weekend's return still seems a long way off, but Baio has done enough here to merit the spotlight for himself in the meantime.

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