This Friday marked the return of Vampire Weekend. Their new LP, Father of the Bride, is the quirky New York indie outfit’s first major release since 2013’s Grammy award winning ‘Modern Vampires of the City,’ and it doesn’t disappoint.
Following the departure of founding member, Rostam Batmanglij, who produced all three of their previous records, Vampire Weekend took their time in working out an appropriate route of progression. Their new album adopts a similarly upbeat and exuberant vibe, but is noticeably more mature than previous offerings. Vocalist and guitarist Ezra Keonig is 35 now, and it’s been over a decade since the band, which met whilst at Colombia University, released their acclaimed self-titled debut. An uncommon sense of introspection is apparent throughout the album; with tracks like ‘My Mistake,’ the albums most sombre note, illustrating an evolution in Keonig’s song-writing intentions. That being said, the following track, ‘Sympathy,’ which suitably begins, "It’s not that serious," cuts short any melodrama in raucous style. This track is perhaps this albums best example of an enduring trademark sound: fast paced, plucky, catchy indie rock formed off a diverse set of influences.
The band calls upon Danielle Haim, of Los Angeles three-piece Haim, and Steve Lacy, whose work with neo-soul innovators, The Internet, and more recent solo projects, have drawn much attention, as the only two feature artists on the album. Haim provides vocals on the opener, ‘Hold Me Now,’ as well as two other joints on the 18-track album. Her voice partners with Keonig's to deliver a harmonious Nicks-and-Buckingham-esque sound which provokes a certain 70s nostalgia. Lacy, on the other hand, lends himself more to Vampire Weekends’ lively and uncompromising sound. ‘Sunflower,’ one of two tracks on which he features, is one of the albums most memorable moments, with its plucky riff and accompanying sing-along vocals making for a real earworm.
Other highlights on the album include the jubilant, 'Harmony Hall;' a track brimming with juxtaposition, with "I don’t wanna live like this but I don’t wanna die," sung over an uplifting instrumental of acoustic guitar, jumpy piano and plenty of tambourine, and final song ‘Jerusalem, New York, Berlin;’ a quieter more considered track making use of a low, resonant synth melody to compliment Keonig’s thoughtful vocals.
There are times when perhaps the vitality of Vampire Weekend’s work becomes a tad cheesy, and at times, it must be said that certain tracks, notably ‘Sympathy’ with its hand-clapping and repetitive choral vocal sample, could become a little irritating after a while. However, with these points effectively balanced by unexpectedly calm moments that pop up regularly throughout the album, Vampire Weekend seem to have found something of a happy medium. ‘Father of the Bride’ seems to be the moment that the preppy pop-rockers found themselves an efficient formula for a truly enjoyable record of unmasked emotion and lust for life.
9/10