Alright, so, where do I even start with Vampire Weekend? It’s literally been six years since the band’s last album, Modern Vampires of the City, and needless to say, this new release has been one of my most anticipated albums for the past couple years since the initial announcement that it was in the works was made.
Before this album was released, Vampire Weekend, for me, were a band with a pretty flawless discography. I had fallen in love with all three of their previous records, for each of them have their own unique character and are packed with songs that have stuck with me from the very first listen. From the band’s conception, they were an intriguing sight to behold knowing that all four members are Ivy League graduates from New York City’s Columbia University, and not to mention white males. Admittedly, they’re kind of an odd outfit for such a large portion of “alternative” fans to flock to and praise so much in the community. But Vampire Weekend undoubtedly has this shameless charm about them — this ability to poke fun at and make satirical commentary on their own privilege and elitism. It’s hard to contest that the band is anything but self-aware of their status and image through their blatant displays of pompous sophistication in their sweater vests and cardigans, and the meanings behind their lyrics bringing us into the true culture of absurdities in their lifestyles.
The band stands out among the indie crowd for many reasons; their umbrella genre is indie rock in its broadest terms, but their sound can more specifically be described as “baroque pop” due to its flowery and ornate presentation. When I think of Vampire Weekend, I think of plucky and eccentric guitar melodies, lush and tropical percussion, and quirky, animated vocals from the beloved Ezra Koenig himself. They band has displayed quite the evolution from their self-titled debut to Modern Vampires, each album becoming more eclectic and introspective than the last. Vampire Weekend featured the freshly graduated, bright-spirited crew creating music reflective of their time in college. Contra turned a little deeper, and showed more growth and maturity while stepping into adulthood. Modern Vampires of the City, one of my favorite albums of all time, was a tear-jerking masterpiece; richer, denser, and grander than ever, it featured greater experimentation, darker commentary on their views of the world, and honed in the image they truly wanted to create for themselves. It was most definitely going to be hard to top this with a new release, Father of the Bride. So, did it live up?
Well, in my eyes, it is no Modern Vampires. Though, it does do a great deal in displaying a side of Vampire Weekend that we have always known and loved: the posh, preppy intellectuals making witty and lighthearted music. For sure, this record is much more of a relief after Modern Vampires had chilled you to the bone with all of its existential ponderings and haunting production. It’s no secret that in the past six years, the band has lived through and learned a lot more about life and their place in society, and wanted to express this as best as they could in this long awaited release. Additionally with this album, the band lost a primary member, Rostam Batmanglij, who did the production on all of Vampire Weekend’s previous records, and so the band had to find a way to channel their quintessential sound without his touch. With this in mind, I think they nailed it, because it still sounds very distinctly reminiscent of older Vampire Weekend albums, while also stepping into uncharted territory at times. On the new album, the band comments on the world around them, reflecting on this day in age where everything feels especially tense, on edge and anxiety-fueled, all while incorporating their signature joyful and intricate guitar rhythms, cultural influences, vocal distortions, and artistic production.
Interesting themes are presented on the track list, such as two lovers in an intense relationship but knowing that it cannot hold up in both “Hold You Now” and “Married in a Goldrush”. “Harmony Hall” alludes to unjust things happening in seemingly dignified spaces, perhaps referring to the inhumanity displayed by upper-class groups in society. The lively “Bambina” talks about how the singer’s “Christian heart cannot withstand,” criticizing religion and the limitations that these beliefs tend to place on one’s mind. “This Life” is also compelling, talking about how as an adult you are really forced to come to terms with why you are the way you are and how you should probably fix your mistakes, rather than continuing to bury them and “cheat” your way through life. “Unbearably White”, although does not quite lyrically address what you’d think the title implies, was likely purposeful in its name to acknowledge the band’s undeniably privileged identities. Even amidst this plethora of heavy topics, the record still features a lighter side with more delicate songs like “2021” and “Big Blue,” which basks in the vastness of the ocean, providing almost a comic relief.
Having said all this, it does feel as though the record as a whole is a lot less cohesive than in the past, and the scattered feel is not made any better by the album being eighteen songs long. Beyond a point, it starts to feel rambly and long-winded. The record indeed has its moments, and it was of course going to be hard to live up to last album, so I think that the band did the best with what they had and with the pressure that was already placed upon them. Even feeling a bit overstuffed and prone to wander, I still do believe that this record fits snugly into the band’s discography, and was not at all bad way to come back to us. There are some things I would change, but overall I’m just happy to see the band thriving and making the music they make best. Their ideas never seem to run short and they’re only continuing to grow and evolve with the world we live in, and for this, I commend them. Father of the Bride doubtlessly reminds me of why Vampire Weekend is and continues to be one of my favorite bands, and that having them be one of the first to introduce me to indie music so many years ago is something I’ll always be grateful for.
Favorite Tracks: Harmony Hall, This Life, Unbearably White, Sunflower, Flower Moon, 2021
Least Favorite Track: Not sure
SOME THOUGHTS ON SOUNDS 
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