On its previous two albums, Vampire Weekend was far easier to respect than to like. The group’s abilities to craft catchy tunes and pen memorable lyrics were undeniable, but they seemed frustratingly unwilling to apply these abilities to matters of any real depth, like bratty potential valedictorians determined to forever remain the class clowns. In that regard, the group’s third album, “Modern Vampires of the City,” represented a rather epic leap forward. Ditching the smug Ivy League affectations of his previous work, frontman Ezra Koenig turned his gimlet eye away from punctuation and horchata and toward matters of real significance: death, intolerance, aging, depression, and above all, God. (“Modern Vampires” is perhaps the most thoroughly Jewish pop album since the Beastie Boys’ “Paul’s Boutique.”) Meanwhile, multi-instrumentalist Rostam Batmanglij buttressed his bandmate’s meditations with a cornucopia of arresting structures and textures, from the Celtic rave-up “Unbelievers” to the robot-rock of “Diane Young” and the achingly sincere chamber pop of “Hannah Hunt.” There isn’t a wrong note, or a callow smirk, to be found.