Yesterday, NY Times told us three-fourths-Brooklyn group Vampire Weekend is the breakout indie success of the year. Today, RedLasso clips their performance on last night's thoroughly dismal episode of Saturday Night Live. Below, "A-Punk" and "M79" from the condom endorsing fresh-scrubbed foursome, featuring a smiley as ever Ezra. At least someone enjoyed the show.

Stereogum's tag cloud hovers above The Paper Of Record today, with profiles on Brooklyn alt-rockers in Arts & Leisure and an indie rock dress-up cheat sheet in the Men Styles Magazine. Consider it a print version of the story run by MTV in January. "All Hail Brooklyn: Alt Rock Thrives In Alt-Borough" opens on the eve of Yeasayer's Late Night triumph (where they'd perform "2080," Conan's "favorite song in a long time") and highlights many of the notable musicians from our hood who are thriving on indie labels while the majors scramble. Battles are branded convoluted (but playful!) and Animal Collective claustrophobic (in a good way!) by writer Ben Sisaro; the "knotty technical complexity" he ascribes to arty acts like Battles/Grizzly Bear/Yeasayer make the prospect of listening to these New Bohemians seem like homework. The scene is so dense, even NME is sick of it ("It's gotten to the point where I had to stop constantly writing about Brooklyn," says editor Alex Miller). Yeasayer guitarist Anand Wilder sums it up in a silly sentence.

"You have these frat guys in Atlanta who are too sophisticated to listen to Creed and Nickelback, so they're like, 'Maybe I'll read this site Pitchfork and find out about this band Yeasayer or Dirty Projectors.'"

Danger Mouse has somehow draped a blanket of Mr. Sandman drowsiness over The Odd Couple. It's not a boring album -- well, some of it is -- but there's a late-night a.m. radio haze to the whole thing, so that even the more uptempo bits like the proto Soul Train, Austin Powers-y first single "Run," hit like an old time, sepia-flaired party jam ... on opiates. No Harding Flash and Pattern Analyzer necessary. If you can keep your eyes open despite the muted, soothing tones of the production, there are some fine songs, shining moments. Everyone's going to want "Crazy," of course, but it's safe to say life would be fine if we never heard it again. Plus, we're happy to see Cee-Lo putting his soulful pipes to different uses and going elsewhere than St. Elsewhere. We're also glad, too, for some reason, that there isn't another Violent Femmes cover. (Somehow that just didn't age well.) Something like the lovely, downcast "Who's Gonna Save My Soul" sounds so old, it already feel sorta classic in a way that goes beyond retro. "Gettin' high because I feel so low..." Again, thanks Danger Mouse. Then there are 11 other tunes.