Vampire Weekend, Father of the Bride | Album Review

Grammy-winning alternative collective Vampire Weekend returns with an alluring, consistent, and well-rounded fourth studio album, ‘Father of the Bride.’

After a six-year hiatus, Grammy-winning alternative music collective Vampire Weekend returns with new music.  The last time that we heard from the VW was in 2013 when they released the utterly superb Modern Vampires of the City, which remains to this day, among my personal favorite albums of the 2010s. Despite the fact that Ezra Koenig and company made us wait such a long, damn time for their fourth studio album, the resulting Father of the Bride is nothing short of superb.

“Hold You Now”

Father of the Bride kicks off in compelling fashion with ✓ “Hold You Now.” The sound of the record can be described as ‘folksy’, at least the verses performed by Ezra Koenig and featured guest, Danielle Haim.  Notably, “Hold You Now” fits the concept of the album, setting the tone for an adventurous ride.  Part of the adventurousness is the chorus, brilliantly sampling “God Yu Tekem Laef Blong Mi” composed by Hans Zimmer, and appearing on The Thin Red Line original motion picture soundtrack.

“Anger wants a voice, voices wanna sing / Singers harmonize ‘til they can’t hear anything…” ✓ “Harmony Hall” represents everything one desire from a comeback single – it exceeds expectations.  Jam-packed, crossing the five-minute mark, the band experiments with Americana and country music.  The result is superb, with rhythmic guitar lines, ultra-funky piano, and an infectious, anchoring beat.  Adding to the excellence are ripe vocals by Koenig, who sounds as fresh and potent as he did when Vampire Weekend arrived back in 2008.  Although “Harmony Hall” is ‘alternative,’ there’s enough of a ‘pop factor’ and a relatively straightforward form that makes it truly ear-catching.  Also helping the infectiousness is the inescapably catchy chorus, which sounds as if Koenig is beaming as he sings.

“And the stone walls of Harmony Hall bear witness

Anybody with a worried mind could never forgive the sight

Of wicked snakes inside a place you thought was dignified

I don’t wanna live like this, but I don’t wanna die.”

“Bambina” 

Following the lengthy “Harmony Hall,” Vampire Weekend keeps it ‘short and sweet’ on the energetic ✓ “Bambina.” Lyrically, the record stands out due to its references to religion and violence (“When the police come, they always come too soon”).  The chorus features the chief reference: “My Christian heart cannot withstand / The thundering arena / I’ll see you when the violence ends / For now, ciao ciao, Bambina.” The thrilling ✓ “This Life” thrives off of its major-key, optimistic sound. Even more alluring are the lyrics and themes, which include literal, mutual relationship issues (“I’ve been cheating on, cheating on you”), war (“I just thought the drums of war beat louder warnings”), and existential matters (“Baby, I know death probably hasn’t happened yet / ‘Cause I don’t remember living life before this”).

“Big Blue” gives Vampire Weekend another brief, well-rounded record, released in advance of Father of the Bride.  Ezra Koenig sings with ease from the onset, backed initially by an incredibly mellow, instrumental backdrop.  There are no verses, only choruses, iterated four times total. A little more than 30 seconds in, “Big Blue” gains more oomph with an expanded instrumental palette.  That expanded palette includes rhythm and lead guitars and a choral vocal pad. All in all, the resulting sound is celestial, pleasant, and maintains a degree of simplicity, never growing overcomplicated.  The groovy “How Long?” keeps the momentum going strong, again thanks to how it fits into the concept, as well as referencing Christmas, Christianity, California, and books (A Christmas Carol), and places/films (Mulholland Drive and Sunset Boulevard).  As fun as “How Long?” is, the clever nature of the lyrics – the sharpness of Koenig – is the biggest selling point.

“Unbearably White”

As awesome as “How Long?” is, the soulful ✓ “Unbearably White” is a surefire bop from the onset.  What’s interesting is the contradiction of the soulful production and the song title itself, which isn’t explicitly about race or skin color, but definitely doesn’t feel like sheer coincidence. The guitars sound brilliant, while the robust bass line adds some serious punch on the bottom.  Once again, the vocals and the poetic, incredibly unique lyrics take precedent. “Rich Man” has a tough act to follow but continues the consistency of Father of the Bride.  If the brief, world music-tinged record sounds quite familiar, it’s thanks to sampling the S.E. Rogie record, “Please Go Easy with Me”.

✓ “Married in a Gold Rush” is the second song from Father of the Bride to feature Danielle Haim.  Worth noting, the vocal chemistry between Koenig and Haim is simply marvelous, singing well together as well as playing off each other. Another perfect fit regarding the concept of the album (marriage and relationship issues), “Married in a Gold Rush” also seems to make reference to history. “My Mistake” colorfully follows, bringing some additional distinctiveness to the LP.  The sound has a ‘lounge-like,’ jazzy vibe, amplified by the use of piano and string bass.  But, like many of the songs on FOTB, it also has an element of unpredictability. If nothing else, it marks one of Koenig’s loveliest performances.

“Sympathy”  

“In the ping-pong match of constant desire / I was never gonna get ahead / ‘Cause I was looking in the mirror.” Sigh, keeping things eclectic, unpredictable, and wild, ✓ “Sympathy” ranks among the crème de la crème of Father of the Bride.  The tempo is quick, the production and sounds busy, and Ezra Koenig is on autopilot.  As sensational as the loudest, most rhythmic moments are, one of the most distinct moments is the chorus, which lowers the dynamic level, and features a killer jazzy harmonic progression. “Now we’ve got that sympathy / What I’m to you, you are to me / Let’s go.” Religion, specifically religious differences, plays a pivotal role.

On follow-up ✓ “Sunflower” (featuring Steve Lacy), the groove is pivotal to the success of the record. “Sunflower” is instantly a feel-good record to the nth degree thanks to the brilliance of the backdrop, reminding the listener of the sheer radiance of a sunflower. That backdrop is comprised of a kickass bass line, slick melodic guitar lines, and agile, nonsensical, syllabic vocals.  Musically, this is quite the showcase that catches the ear from the very first listen. The lyrics are worth mentioning, but it is the sound and vibe of this particular offering that makes it special. Koenig and company showcase ample personality, particularly the tongue-in-cheek sensibility captured via the nonsensical, syllabic vocals, not to mention the fast-paced, agile instrumental lines. Fittingly, the infectious “Flower Moon,” also featuring Lacy, follows.  “It was the right place, wrong time / Another night at the borderline…”

“2021”

“2021, will you think about me? / I could wait a year, but I couldn’t wait three…” On one of the finest short songs you’ll ever hear, ✓ “2021” samples Japanese musician Haruomi Hosono, which helps make the music incredibly intriguing. Adding to the greatness that is “2021” are vocal contributions from Jenny Lewis, specifically on one of the most memorable parts of the song – “Boy, boy.” Koenig remains a force himself, sounding absolutely beautiful on the sole, repeated verse, partially excerpted above:

“2021, will you think about me?

I could wait a year, but I couldn’t wait three (boy)

I don’t wanna be (boy)

2021, will you think about us?

Cooper goes green, steel beams go rust (boy)

It’s a matter of (boy).”

Notably, Koenig sings the verse up an octave the second time. Despite its brevity and simplicity, “2021” remains jam-packed and complex. It’s a gorgeous, well-produced record, with a simple, yet memorable beat anchoring things down.  As always, the songwriting seems to have a deeper meaning, focusing on perceptions and remembrance in the future.

“We Belong Together” 

“We Belong Together” is the third and final cut where Danielle Haim ‘officially’ appears as a featured guest.  Like their previous collaborations, Koenig and Haim make a formidable team. It doesn’t supplant the best of the bunch (“Married in a Gold Rush”), but it’s another moment of consistency on Father of the Bride. Perhaps that’s why she also contributes to other songs, including another country-tinged alt-rock gem, ✓ “Stranger.”  

Penultimate cut “Spring Snow” is another fine piece of ear candy, including the addition of BloodPop® to a production team comprised of Koenig and Ariel Rechtshaid, who co-produces numerous songs from the album.  Rechtshaid stays aboard for the closing cut, “Jerusalem, New York, Berlin.” If the “Jerusalem” portion of the title didn’t give away the religious references, well, they’re in full force (“Our tongues will fall so still / Our teeth will all decay”).

Final Thoughts

So, how does Father of the Bride, the highly-anticipated comeback album by Vampire Weekend stack up? It’s a jam-packed affair that never misses the mark. 18 tracks is a lot to ask any listener, but in this case, Ezra Koenig and company do a marvelous job of keeping the running time under an hour.  What makes this LP the tour de force of 2019 that it is? Clever songwriting, intriguing production, and fantastic vocals from Koenig, who sounds as if he hasn’t missed a beat.

✓ Gems: “Hold You Now,” “Harmony Hall,” “Bambina,” “This Life,” “Unbearably White,” “Married in a Gold Rush,” “Sympathy,” “Sunflower” & “Stranger”

Vampire Weekend • Father of the Bride • Columbia • Release: 5.3.19

Photo Credit: Columbia