Vampire Weekend - Father of the Bride

better singing, though

Could someone explain what is so "inventive" and about this band? Like being an early 00s indie band who did a thirdhand version of Paul Simon's secondhand version of African stuff?

I think a lot of it was they were cute and dressed well

On the first two albums their mishmash of musique concrète, programmed beats, light ska, high life guitar, and gnomic observations about class impressed the hell out of me.

Or you could read ten thousand other reviews.

Musique concrète?

sound effects, samples, etc

the French sounds more precious, and they deserve it

Could someone explain what is so "inventive" and about this band? Like being an early 00s indie band who did a thirdhand version of Paul Simon's secondhand version of African stuff?

it’s funny how some albums like graceland in the twisted minds of vdubs haters are held up like ‘we already did this, not original’ as if every album doesn’t have precedent. like m@tt prob considers hundreds of rock albums inventive for cool rhythms clever riffs tight lyrics (same reasons we love vw) despite having dozens of predecessors

I think a lot of it was they were cute and dressed well

crushing on ezra is definitely a fun part of being a fan, but i still remember my ears perking up when i first heard ‘oxford comma’

I remember perking up in early 2010 when Ezra started wearing skinny jeans

lol :)

Alfred's last seven posts or whatever are tremendously otm

yeah alfred completely otm

i don't think vw really bare that much resemblance to graceland beyond a somewhat superficial african-ness, which of course comes from both being strongly influenced by music from the same continent. graceland though was mostly influenced by south african music while iirc the african music vampire weekend have drawn from is mostly from west and central africa.

on their debut the main innovation is the way they combine that african-influenced sound with all their baroque harpsichord flourishes etc. but on contra they pushed things much further by combining those sounds with kinda chintzy synths and beats in a way that feels completely natural, and a whole bunch of other things too as alfred detailed. the end result is this really lovely blend of organic and synthetic and the way tracks will shift between the two is fantastic. most tracks on contra have enough ideas to make an entire career out of

Of course, MVOTC pushes this approach to its limit such that its rhythm section almost vanishes, and it makes sense that it's a Koenig-Rostam project in name only. I like it least of their albums; the willful wispiness of the music at times repels me.

yeah on MVOTC all the rhythms are so stilted and plodding, it's a big shift for the worse.

yet VW still produced "Step," "Worship You," "Everlasting Arms," and "Obvious Bicycle."

and of course I just read the following Ezra bit in the article that Josh posted:

“I had a feeling that when I wrote ‘Step,’ it was what I had been trying to do the whole time. It’s not gonna get better than that,” he continues. “That, to me, is the peak of that type of songwriting. I felt a sense of accomplishment, and after any sense of accomplishment, you feel a sense of emptiness and itchiness.”

twisted minds of vdubs haters

Wow

"Everlasting Arms" is probably the MVOTC track i understand the least, everything about it is slightly awkward and meandering. the album still has some very good songs ("Obvious Bicycle", "Step", "Don't Lie", "Hannah Hunt" and "Worship You" are what i'd keep) but it's much less consistent and tends much more towards their baroque pop side instead of the more interesting and exciting fusions of the previous two albums.

recriminations from the nitpicking woke (Alfred, Lord Sotosyn) at 6:56 4 May 19

On the first two albums their mishmash of musique concrète, programmed beats, light ska, high life guitar, and gnomic observations about class impressed the hell out of me.

Or you could read ten thousand other reviews.

I like reading about Vampire Weekend actually, they are a great band to read about

Ezra feels that way about "Step"? I think my list of favourite VW songs would not at all correspond with the band's own list of favourite VW songs

this album is chill

total volte face from the last one

i guess i have nothing interesting to say about ir

ezra is beautiful

― le goon (J0rdan S.), Wednesday, January 22, 2014

actually , a notion

the late 90s early 00s model of how to structure a long album is a more helpful model in 2019 than the 70s rock one

two vocal choruses then a solo over the chorus progression then two more choruses is fine on the last track of side one of four but when there are thirteen undifferentiated more tracks ahead of it ones heart sinks a little

of course I would find Lambchop slander in the VW thread

Lambchop is super boring

weird to find myself liking modern vampires more than most of the people in this thread. but i think “ya hey” is a perfect song and iirc some people find the sped-up vocal repulsive

Hi!

Had no idea there was dislike for Modern Vampires among fans. I think it’s the third in a trio of classics.

Also surprised there is not more polarization about this album. Am I alone in disliking it or is this just the skewed perspective of ILM? There’s a polish to this album like it is more purposefully aiming for radio play that rubs me the wrong way. Also feel like Ezra’s lyrics are a lot less clever this time around.

the "ya hey" vocal thing is a cool concept but as the main hook i feel like there has to have been a better way to execute it

That hook should be annoying as hell but I love it

It took me a while to get into VW because I kept reading about their innovative style but that always seemed overstated. I think this band's strength is more in writing very memorable hooks and lyrics

graceland though was mostly influenced by south african music while iirc the african music vampire weekend have drawn from is mostly from west and central africa.

I don't really think it's even this thought out. The Ezra quote about African stuff I saw back when was “The minute our band started, we looked to any kind of music that used rock instruments, but didn’t use them in the same old rock way. And I think African music is probably the best example of that.” So I don't think it was a specific act or region he was aiming to replicate so much as simply an unfashionably bright, super clean guitar sound totally removed from power chords and distortion and stuff. A la (generally speaking) his other big influence Johnny Marr, whose occasional African-isms were, as far as I've read, totally incidental (that is, "This Charming Man," as "African" as it sounds, was written before Johnny Marr had much of any idea about African music at all).

I could be wrong, though, maybe Ezra is like some Awesome Tapes from Africa savant or something. Obviously some of it, via Paul Simon or no, was totally intentional, I just don't know how specific.

Most classics have flaws, though, including the first three VW albums

I don't think anyone especially wanted to sound like West African music because it was West African, but they gravitated to the sounds of West African music more than South African. Although a song like White Sky does seem like a Graceland rip to me.

“It’s very meaningful to me, and it always hurt my feelings when people would say that Vampire Weekend’s lyrics were nonsense. They’re not nonsense. They’re impressionistic."

"I’ve always been mildly offended when people would say Vampire Weekend lyrics are nonsense, because they mean something."

Who says their lyrics are meaningless? Was that a typical criticism? I would have thought it was fairly apparent that the lyrics are laden with all sorts of references and codes.

In re the African influences and the new album, it made sense to me when I realized "Rich Man" is built on an S.E. Rogie sample, because Rogie incorporated country music from the start (big Jimmie Rodgers fan). So a palm wine/countrypolitan album is a natural progression.

took three attempts to make it to the end of this

the attempts at directness on side four are interesting but not hugely diverting. 'jerusalem new york berlin' is a billy bragg song.

yo this is pretty good though

Generally speaking, happiness doesn’t make for great art; at the very least, it isn’t as combustible as misery, desire, or any other feeling rooted in what we lack rather than what we have. Listening to Father of the Bride, I hear songs of contentment sung by people who have tended to feel agitated, songs of belonging by people who have tended to feel as though they don’t belong. I miss the restlessness of Contra, the grandeur of Modern Vampires, the way the band used to sound anxious and self-examining about their privilege but now seem oblivious. Still, it takes a certain kind of bravery to feel the weight of lightness, to admit that things are okay.

via pitchfork. generally otm. very against the grain of "the times" but that's why i think i like this album so much.

that’s a great excerpt. I’ll have to read that

I fundamentally disagree with this thesis and think it's an incredibly limited/adolescent take on what makes Great Art.

at some level though, don't you find it reassuring/heartwarming that, in 2019, pitchfork is still making these kinds of audacious generalizations? the freshman year of college that never ends

I disagree too.

I don't really think the album is entirely about contentment - there's some for sure but also a lot of dread and anxiety about climate change, rising white supremacism etc.

harmony hall is literally about discontent-- even opens by saying it's winter now

mike rly was a big part of my freshman year of college tho

"All I do is lose, baby/ All I want's to win" is not exactly a statement of contentment. Lots of other lines that refute that read of the album, but I understand the impulse of the review. The album feels sunny even when it's more complicated than that.

happiness doesn’t make for great art

can’t believe this made it into review copy in 2019 but i guess i’ve had no evidence we aren’t going to talk about the same things forever

fwiw I don’t really agree with that statement either

fwiw i like the rest of that review very much

yeah its good and this album is good

There's the slightest hint of Thom Yorke (good!) and Billie Joe Armstrong (less good)