



vampire weekend - father of the bride (2019)

released: may 3rd, 2019 // reviewed: 29th july 2019









track 1: hold you know (feat. danielle haim)





this song feels like an attempt at an artistic reinvention of a classic folk love song. the guitars sound like they're being played backwards like someone trying to find satanic messages in beatles songs. the african-inspired vocal choir reminds me of 'horchata' but the orchestral backing and instrumentation shows that vampire weekend are in a much more mature and retrospective place than they were on 'contra'. the back and forth with danielle has been divisive amongst fans but honestly the wit and humour in the lyrics is so charming and clever that its a dynamic i cant help but adore and im glad its explored so much in the album. the wit doesnt undercut the sentimental and provoking imagery used in this song that seems evidently mature when compared to the preppy adolescence of vw's earlier releases.





track 2: harmony hall





fotb's lead single has everything that makes the record great. the wide range of percussion is brilliantly executed and layered under inventive guitar work that gives me the chills. the chorus melody is brilliant and the vocal hook (borrowed from finger back) is one of the best lyrics koenig has ever produced. the bass work on this song is also brilliant with baio shining (more like bae-o am i right) and, similarly to other points of the record, serves as the glue between a more experimental percussive line with a classic guitar and vocal combination. the rolling stones-esque piano work is really brilliant and elevates the song from ballad to rock and roll infused with world music anthem. one of the best singles vw have ever produced.





track 3: bambina





this instantly stood out to me as one of the best songs on this album. the experimental percussion carried over from harmony hall is clever and adds an uneasy sense to the rhythm of the song. this song is definitely brief but doesnt boil over and try and say too much which is one of its strengths. the lyrics, as ever, are smart and the unusual guitar work and keyboards in the chorus shine. it evokes a similar energy to 'diane young' from the band's last record but seems more diverse yet focused.





track 4: this life





the guitar work on this song is a brilliantly mature continuation of great guitar riffs from the band's earlier work (cape cod kwassa kwassa, i'm looking at you). the bass line creates such a catchy melody that sometimes blends in so well with the song that it holds as much strength as the main vocal melody. the lyrics were instantly smart and provocative. danielle haim's backing vocals arent overdone and her echo of koenig's vocals add an interesting dynamic that continues the theme of self-reflection that carries on throughout this record. the chorus is amazing, blending a modern pop melody with witty lyrics.





track 5: big blue





every element of this song is gorgeous. the keyboards and slide guitars show george harrison's influence without seeming borrowed or unoriginal. the instrumentation on this song works so well together and seems really tight and close knit which i adore. the choral elements are haunting and melancholy yet inspiring and beautiful at the same time. this song strips down the diverse range of sounds on the rest of the record and serves as a simple guitar break that makes it instantly memorable. this song makes me want to slow dance in a cathedral.





track 6: how long?





the range of sounds on this song make it one of the most eclectic on the album and it definitely took me a little longer to appreciate than the rest. the lyrics are koenig genius and backed with really inventive guitar work that is definitely characteristic of this album's brave approach to the instrument. pianos, guitars and percussion shine on this song and their tight instrumentation serves as a perfect contrast to the melancholic vocals on the song.





track 7: unbearably white





initially this wasn't my favourite song on the album. the guitar work is a highlight of the song. the lyrics took a while to appreciate but the evocative imagery show koenig at some of his best on the whole album. theres a really spooky element to the strings on this song's pre chorus which renders the stripped back verses even more effective and melancholic; diverting focus onto the beautiful lyrics that continue the conflict of introspection and longing that is characteristic of this record.





track 8: rich man





the guitar sample used on this song is BEAUTIFUL and instantly evokes an old-school/lo-fi vibe that isnt used much on this record (an indie band not overusing lofi effects?!). there's a strong wit to the lyrics on this song that seems more obvious than on other songs that utilise a similar sense of humour, while retaining a sense of poetry and melody. the guitar riff jars with the vocal melody yet in a satisfying way; the extra orchestration creates a classical vibe that backs up the old-school energy this song carries.





track 9: married in a gold rush (feat. danielle haim)





one of this song's merits is the way it blends traditional songwriting cliches (midnight trains and kissing in the rain) with really modern digital synth sounds and bass tones. the world music elements to the pre chorus references the band's eclectically international earlier works but dont stray from the traditional folk elements of the song. certain words remind me of mick jagger (shared a moment in a cafe JUST LIKE i saw her today at the reception) and genuinely make me smile in their delivery. the back and forth in the lyrics is poetic and sentimental but retains koenig's wit. great guitar solo seems to be inspired by funk or soul and contrasts with the rest of the song in a really interesting way.





half way there! well done!





track 10: my mistake





the melancholy nature of this song is hauntingly incredible. it serves as a break from experimental guitar pop and brings koenig down to a vulnerable and painful moment. the heartfelt nature of the lyrics also seem to carry a sense of resentment that is really emphasised by the worn out vocal style koenig adopts for the song. the song might be a slow burner but it remains a beautiful piano ballad. sadly, i think i overlook this song as the second best piano ballad on the record simply because of the final track (which we'll get onto later if i ever get to track 18)





track 11: sympathy





this song sounds like a latin/spanish/south american anthem that is played at ritual ceremonies. the african choral elements blend really well with the overall style of this song. it stands as a perfect symbol for the record's wide variety of vibes. love it. the pre chorus seems to have a modern pop acoustic guitar line with ever retrospective lyrics that just have an intense aspect to them.





track 12: sunflower (feat. steve lacy)





if the beatles formed in 2019 i'm pretty sure this is what they'd sound like. the two layers of guitar parts work so well and add an interesting dynamic between each other. vocals are also layered with koenig and lacy sharing vocal duties. the complex ascending/descending guitar line is weirdly catchy and sing-along-able and i love it. the crescendoes add a really solid punch to the verses which also have brilliant guitar parts. this is the song i HAD to learn on guitar from this record and im sure will be essential for any indie kid with an offset guitar for years to come.





track 13: flowermoon (feat. steve lacy)





the vocoder gets its debut on this album and adds a really cool element to an already interesting vocal melody, adding contrast to the almost soulful/70s-esque vocal line {gonna take a yeaAaAAaaAr}. creative guitar work on this song works really well with the bright and diverse palette of percussion. the instrumentation reminds me of older vw records but the lyrics and vocals come from a totally fresh perspective which encapsulates the progressive aspect to this album within their discography.





track 14: 2021





undoubtedly one of the most beautiful moments on the album (please dont doubt me). the repeated lyrics are beautiful and sound so clean it just hits your heart STRAIGHT. the glistening synths add a sort of magical or heavenly aspect to the song and the guitar solo shared by 2 guitars is really interesting and the dynamic between them makes for a really great listening experience! this song sounds like world peace and is a great song 2 cuddle 2 <3 <3





god damn 4 songs left im never reviewing a double album again





track 15: we belong together (feat. danielle haim)





more sentimental and beautifully delivered lyrics from another duet on this album. amazing piano work in the chorus. theres an interesting vocal sample that repeats a couple of times which is another element to these duets that makes them simeoultaneously old school and folk-y yet modern and experimental. the vocal contrast between haim and koenig remains INCREDIBLE and does an even better job than island in the streams (that is what we are), and might even beat dont go breaking my heart (feat. kiki dee) by hit-maker elton john.





track 16: stranger





the melody of this song instantly establishes itself as catchy and BRILLIANT. the guitar and synth work blends in perfectly with the intro i love it. the sentimental lyrics are built upon even more with this track and form the climax of the album's gorgeous poetry. horns work so well on this song and add to the epic sense this double album has. there's even more interesting guitar work on this song and i love the clean/chorus guitar effect used. the melody is almost motown-esque and catchy as hell and makes me want to dance.





track 17: spring snow





i overlook this song way too much. it seems like the best elements of unbearably white mixed with spring snow; great percussion and sentimental lyrics beautifully underscored by acoustic guitar. the wittiness of the lyrics while remaining personally sentimental is a genuinely amazing aspect to this song that i think synthesis koenig's songwriting throughout this record. blending traditional piano lines with a vocoder is such an interesting contrast and works really well on this tune.





track 18: jerusalem, new york, berlin





this song has to contain some of the most gorgeously poetic lyrics on the whole of this gorgeously poetic album. the instantly classic piano work emphasises the ballad-esque nature of this song. i love the way this song relates personal history to monumental religious history and is genuinely so artistic its perfect. again, the dynamic between koenig and haim is incredible and even though haim is here understated and more of a backing singer than a full on feature i think it works incredibly well. i think this song stands out as a statement from this album and should be recognised as a modern piano ballad CLASSIC.





we made it!





i like to let albums simmer before i collect my thoughts on them; this collection of songs has only grown since first listen. vw seem like a good wine; better with age. koenig is the perfect grape for this wine. this record, two months after release, still remains one of my favourite albums of all time, a sentiment i recognised from first listen. this seems like the best aspects of the band's past discography matured and developed to create their definitive work. i cant wait to see where the band goes next.