Vampire Weekend - Father of the Bride

That's believable but still pretty wow for me

It feels entirely logical and unexceptional that Danielle Haim is on some of these songs but as a cross-promotional strategy it leaves a little to be desired given that no one cared about that last Haim album.

I mean no one feels impelled to do this every time Damon Albarn turns up all over someone else's record.

er, maybe Vampire Weekend used Danielle Haim because they liked her voice?

I think one of the key elements about that is that with Rostam, they lost the person who did all/most of the backing vocals/harmonies.
So it makes sense that they tried to "replace" him and even better if they found someone that they enjoyed working with.
I suppose if he had stayed they might still have maybe a duo project on the album but not that many vocal parts done by a guest.

yeah that makes a lot of sense to me, backing vox/harmonies on first 3 albums are crucial

Ezra mentioned on one of his radio shows something about wanting to have "feat."s on the VW record for the first time on FOTB because they'd never done them before on their records. And like said above there's probably a lot to fill in in Rostam's wake.

All 3 Haims also did significant b-vox on the Dirty Projectors record I think without "feat." credits? A couple of songs?

https://www.youtube.com/watch?v=s3RRe9Lhraw

this version of 'i think ur a contra' is fantastic

Are people missing Rostam's presence with the new songs or nah?

I think ur a contra is peak dad rock

"dad rock" really ? ugh

Are people missing Rostam's presence with the new songs or nah?

― Josh (phantompenguin)

Not especially. The band has absorbed his lessons about textured, fully inhabited recordings.

dad rock has lost all meaning

I was just kidding.

As a rocking dad, and as the son of a rocking dad, I fully support the reclamation of the pejorative. Dad Rock Pride!

"Jerusalem, New York, Berlin" is the prettiest ballad Koenig's written yet, and D. Haim is excellent on it.

👋 a new Vampire Weekend song, ‘We Belong Together’ is out tomorrow on the album ‘Father of the Bride’, produced by your old pal Rosty Griswald (me)

— Rostam (@matsoR) May 2, 2019

and you can't tell!

can't wait to hear the album ! being seeing pretty positive reviews

been*

this album is a bit weirder than i expected, kinda all over the place (in classic double album fashion i guess). certainly stronger than Modern Vampires but i know i'm fairly alone in thinking that's easily their worst but i doubt i'll end up loving this as much as Contra where every track is a very inventive & near-perfectly crafted pop song.

on first listen "This Life" is the clear highlight but "Flower Moon" and "Stranger" are really nice too and there's a lot to take in.

I love this, I love this

So those 3 songs where Danielle Haim's credited are all duets

is it a flex now to not stream yr album before release day?

Definitively all over the place and doesn't really flow as an album but having listened to a it a few times yesterday there's some very good (and very short) songs - echo ufo with props for This Life and Flower Moon.

Closing track is lovely too

"Sympathy" is the only one that i really have no idea what to make of

After listening to the whole thing once it seems pretty good.
For a double album, it’s easy to get through.
« Sympathy » is fun !

This felt overlong to me and simultaneously overworked and unfinished. Would probably benefit from having a third of the tracks culled I guess.

Not sure about overlong (only four of the songs get past the four minute mark and half of them are less than three) but could definitely be streamlined a bit.

I simultaneously like a baggy old monster and think all albums should be shorter so am thinking both right now (happy as is & should be filleted). I'm certainly transfixed by how beautiful it sounds.

actually i'm not quite sure what to make of all the D. Haim duets either. they're all country-influenced but end up in this weird territory where they just feel slightly off. it's also weird to hear Ezra singing songs that are so direct and sincere in emotion to the point of feeling a bit corny, even if they're in character.

the album length is in this awkward spot where it's slightly long for a single album but quite short as far as sprawling all-over-the-place double albums go so maybe they should have committed a little stronger to one or the other?

I have a problem with « hold you now » because it uses a zimmer sample that’s overused in a cheesy tv ad here... obviously it’s not VW’s fault !

the dullest songs insist on a rote happiness: "We Belong Together," "Married in a Gold Rush," "Rich Man" (I'm still figuring out that one).

The Keats/Yeats couplet is abysmal for someone with Koenig's acquaintance with college syllabi. I mean, even Morrissey didn't pair them this dumbly.

not feeling the duets much myself on first listen

i wonder if she is doing any tour dates with them .

she said in an interview they haven't made plans for that yet but if they happen to be in the same place at the same time id think it's pretty possible

this is good, the production is astonishing, but... boring complaint, but it’s too long. i might change my mind as i get more familiar with it but the effect of all these vampire weekendy vampire weekend songs stacked on top of each other for an hour is... monotonous. i also find it very strange that i don’t like any of the danielle haim songs

I was ready to defend them all at this time yesterday; now their facility irritates me.

and weirdly this monotonous pacing makes the extreme stylistic diversions (“sympathy”) exhausting

Echoing all the Flower Moon love

Gonna take a yeeeeeeeeear

I’ve been bracing myself for this album for years now. I love all of their other records and have been expecting this one to be a letdown—Rostam leaving, the long delay, the announcement that it would be a double, “Harmony Hall” which I disliked, the album art... After “Harmony Hall” I purposefully avoided the other singles just so I could try to engage with the album on its own terms.

Anyway, I’m on my first play through now. This is my “yucky listen” - just trying to hold off any opinions and do my best to shake off all the bias and expectations as much as I can. Maybe that’s working as I was really gritting my teeth from the first track through “This Life” but it’s starting to even out a little now.

[edit but here comes another Haim duet I’m only fond of]

On the other hand my wife does not enjoy suffering like I do. She just texted me after one listen: “they’re dead to me.”

how does the pacing compare to MVOTC? it's only 15 minutes longer, but with shorter & breezier songs I imagine it might flow better? I love MVOTC but it has a lot of relatively long songs, and some dry ones bookending it. haven't had a chance to listen to FOTB, honestly forgot it came out today, but looking forward to it.

It doesn't feel exhausting because the melodies and harmonies are intricate enough to remember and savor at two minute. Sometimes they're too bright ("We Belong Together").

Also: Koenig claiming writing or co-writing credit on every track. Guess VW has given up the fiction of a democracy.

were the first three records credited to the band? I always assumed it was a Lennon/McCartney situation

I had to go and get two tyres sorted and all I've been humming to myself - the residue of listening to this all morning - is Paul Young's version of Love of the Common People and that bastard Jona Lewie Christmas song.

were the first three records credited to the band? I always assumed it was a Lennon/McCartney situation

― flappy bird, Friday, May 3, 2019

The band credited with music, Koenig with lyrics on first two.

“stranger” is absolutely amazing

if there is a Pazz & Jop poll this year, this album will win it