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Father of the Bride (album)

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Father of the Bride
A hand-drawn globe against a white background, with an orange border on the left-hand side. The words "FATHER+OF+THE+BRIDE" encircle the globe, with "Vampire Weekend" and "Sony Music" printed above and below the globe respectively.
Studio album by
Vampire Weekend
ReleasedMay 3, 2019 (2019-05-03)
RecordedJanuary 2016–August 2018[a]
Studio
Genre
Length57:50
Label
Producer
Vampire Weekend chronology
Modern Vampires of the City
(2013) 		Father of the Bride
(2019)
Singles from Father of the Bride
  1. "Harmony Hall" / "2021"
    Released: January 24, 2019
  2. "Sunflower" / "Big Blue"
    Released: March 6, 2019
  3. "This Life" / "Unbearably White"
    Released: April 4, 2019

Father of the Bride is the fourth studio album by American indie rock band Vampire Weekend. It was released on May 3, 2019 by Columbia Records, as their first album on a major label.

The release marked the band's first project in nearly six years, following Modern Vampires of the City (2013), and the group's first project since multi-instrumentalist and producer Rostam Batmanglij's departure from the group. It was primarily produced by Modern Vampires of the City collaborator Ariel Rechtshaid and lead singer Ezra Koenig, and features numerous external collaborators, including Danielle Haim, Steve Lacy, Dave Macklovitch of Chromeo, DJ Dahi, Sam Gendel, BloodPop, Mark Ronson, and Batmanglij. The pop and indie rock album is musically diverse and heavily referential, contrasting heavy and direct lyrics against a bright spring-time musical mood, with its wide range of influences including country music and jam bands.

The album was preceded by three double singles: "Harmony Hall" / "2021", "Sunflower" / "Big Blue" and "This Life" / "Unbearably White". Upon release, it received widespread acclaim from music critics, and became the group's third consecutive album to debut at number one on the US Billboard 200. The band promoted the album with a global tour, featuring an expanded seven-person lineup.

Background and recording

In May 2013, the band released Modern Vampires of the City to critical and commercial success, winning the Grammy Award for Best Alternative Music Album. The album was promoted with a world tour, which concluded in September 2014. Tired from the tour, the band took a break from writing and recording. During this period, Koenig created the animated television series Neo Yokio and co-wrote and produced "Hold Up" from Beyoncé's Lemonade. He also gradually relocated from New York City to Los Angeles.[3]

On January 26, 2016, Rostam Batmanglij announced his departure from the band via Twitter, emphasizing that he and Koenig would continue to collaborate.[4] Later the same day, Koenig announced that Vampire Weekend had begun working on their fourth album, under the working title Mitsubishi Macchiato, with Batmanglij contributing to the record.[5] In November 2016 it was reported that the group had signed to Columbia Records, marking their departure from XL Recordings.[6] During 2016 Koenig spent time writing the album and researching in libraries with grad students. In March 2017, he said the album would feature a "spring-time" vibe and at the time consisted of songs entitled "Flower Moon" and "Conversation".[7]

Danielle Haim of pop rock band Haim appears on three country-influenced duets with Koenig, and contributes backing vocals throughout the album.

The album was primarily recorded in producer Ariel Rechtshaid's home studio in Silver Lake, Los Angeles – dubbed Effie Street Studios – as well as Vox Studios in Hollywood and Sony Music Studios in Tokyo.[1] This led to numerous collaborations with Danielle Haim, who lives with Rechtshaid.[8] In September 2017 Koenig said the album was "about 80% done".[9] Batmanglij was involved in the album, and in a December interview Koenig noted that their method of collaboration had not changed despite Batmanglij's departure from the band. He also stated that collaborating with Kanye West had inspired him to collaborate with a wider variety of musicians on the album, and that his songwriting for the album had been influenced by country singer Kacey Musgraves. On the influence he said, "I'm the type of person who has spent hours poring over the avant-garde poetic lyrics of certain songwriters, and there was something that felt so good [about how] from the first verse, you knew who was singing, who they were singing to, what kind of situation they were in", noting that this hadn't applied to many Vampire Weekend songs.[10] On August 4, 2018, Koenig announced that the album had been completed.[11]

Music and lyrics

The pop[12][13][14] and indie rock[15][16] album is heavily referential both lyrically and musically, channeling a springtime mood despite its "encyclopedic" density.[17] It is less inhibited than past releases by the band, and contrasts warm, pleasant music against heavy and dark lyrics, while exploring a broad musical palette. Key musical styles explored throughout the album include R&B, soul, country, folk, rock, art pop and baroque pop.[18][19][20] The double album's wide range of musical styles has been compared to the Beatles' White Album (1968),[13][21] although Koenig considers the album closer to more thematically cohesive double albums such as Bruce Springsteen's The River (1980) and Paolo Conte's Aguaplano (1987).[8][22] The loose style of the album has been compared to jam bands such as the Grateful Dead[21] and Phish.[23] It has also been described as more American than previous the group's earlier work, with Koenig's voice and guitar both adapting a roots twang,[24] and songs channeling the Great American Songbook.[13]

The album's lyrical style is more direct and straightforward than Koenig's previous writing, inspired by American country singer Kacey Musgraves.[18] Themes explored on the album include lost youth, romantic downfall, political strife, uncertainty, doom, complacency, environmentalism, and existentialism, with an eventual arc towards redemption and rebirth.[25][13][26][23][27] Weddings and churches act as recurring motifs exploring love, and the album features frequent biblical imagery.[14] Koenig considers the album to be more lyrically cohesive than previous work, stating: "the genres, maybe, and the references go all over the place but I actually think lyrically it’s one of the most unified [Vampire Weekend] albums".[8]

Songs

"Harmony Hall"
Lead single "Harmony Hall" incorporates influences from both rave and Baroque music.
"This Life"
"This Life" interpolates rapper iLoveMakonnen, while its upbeat music has been compared to Van Morrison's "Brown Eyed Girl".
"Sunflower"
The psychedelic "Sunflower" features Steve Lacy, and is influenced by jam bands such as Phish.
Problems playing these files? See media help.

The folk and country-influenced "Hold You Now" samples Hans Zimmer's choral score for The Thin Red Line, and has been described as "gorgeous".[28][29] It is the first of three duets with Danielle Haim on the album, and its simple lyrics feature Koenig and Haim trading verses about seizing the moment in a relationship.[18] Koenig described these duets as the album's "tentpoles", inspired by country duets by Conway Twitty and Loretta Lynn.[8][30] He chose to open the album with sparse vocals and acoustic guitar because he thought it was a "weird way to open a Vampire Weekend record".[8] "Harmony Hall" features warm and joyful music, with a "springtime" mood, and has been compared musically to the Grateful Dead's "Touch of Grey" (1987). Influences from rave, baggy and Madchester music from 1990s England, such as "Unbelievable" by EMF, are also evident in its piano and beat, with Baroque elements in its bridge.[31][32][33] The "buoyant" music is juxtaposed against dark lyrics, with the track interpolating the line "I don't wanna live like this, but I don't wanna die" from "Finger Back" on the band's previous album Modern Vampires of the City (2013).[34][35][36] The brief "Bambina" is vibrant and eclectic, containing vocoder and crunch guitar.[37][38] The musically bright and upbeat "This Life" contains handclaps and "jaunty" guitars, with Koenig's lyrics exploring "spiritual uncertainty" with levity, interpolating the line "You’ve been cheating on, cheating on me / I’ve been cheating on, cheating on you" from "Tonight" by American rapper iLoveMakonnen. It has been musically compared to "Brown Eyed Girl" by Van Morrison (1967).[39][17] "Big Blue" ambiguously explores religious and cosmic uncertainty, with the concise track including ambient arpeggios, sporadic drum samples, "flowery" harmonies, a choir and detuned guitar riffs as it builds dynamically.[40] Its sparse electronic backdrop has been compared to Kanye West's 808s & Heartbreak (2008), while its "weeping" guitar style has been compared to the works of George Harrison.[18][23]

The "lurching" art pop of "How Long?" contrasts jovial and funky keyboards, sound effects, harmonies and guitars against dark and bitter lyrics about the potential demise of Los Angeles.[18][29][12] Writing the song, Koenig was inspired by both hip hop and alternative rock from the 1990s.[8] "Unbearably White" is a "colorful" art pop song, which develops to incorporate isolated vocals, handbells, jazz fusion-inspired bass guitar, and orchestral surges, and lyrically discusses a failing relationship. Despite the title's allusion to criticisms of the band, the track does not primarily explore race.[17][41][42][12] The cryptic "Rich Man" samples palm-wine guitarist S. E. Rogie and features lush strings, with Koenig "crooning" about romance, wealth and ratios.[26][43] Koenig began writing the song at the 56th Annual Grammy Awards where the group won Best Alternative Music Album.[8] "Married in a Gold Rush" is a "lush" country song which also features Danielle Haim.[28]

The regretful and moody "My Mistake" incorporates jazz, lounge and experimentalism, featuring "watery" sampled field sounds.[14][23][20] The flamenco song "Sympathy" contains influences from Schaffel techno,[24] rave,[38] and English rock band New Order.[12] It has been described as "one of the band's most bonkers tracks to date",[44] while Koenig has characterized it as "the most metal Vampire Weekend’s ever gotten".[8] The unorthodox and psychedelic "Sunflower" opens with guitar, bass and scatted vocal runs in unison, reminiscent of prog, with its chorus shifting to warm soul-pop. It features abstract lyrics and channels the musical palette of the 1970s,[45][46] with Koenig comparing the track to the music of Phish.[8] The track features the Internet singer and guitarist Steve Lacy, who also contributed to companion track "Flower Moon",[47] which has been described as an auto-tuned chorale, in the style of the Beach Boys and music from Soweto.[12] "2021" is a minimal and romantic ballad, built around a sample of ambient track "Talking", composed in the 1980s by Haruomi Hosono for Japanese retail company Muji. It features a soft pulsing synthesizer and fingerpicked guitars, along with a distorted vocal sample of the word "boy" sung by Jenny Lewis.[48][49][50][1]

The anthemic and extravagant "We Belong Together" also features Haim,[28] and has been compared to "Mull of Kintyre" (1977) by Wings and the production work of Kanye West.[12] The track incorporates an early demo recorded by Koenig and Rostam Batmanglij at Martha's Vineyard in April 2012, as well as a separate idea Koenig wrote at a piano, and Koenig has described it as potentially the band's most "wholesome" song.[8][51] "Stranger" explores domesticity,[37] musically incorporating saxophones into its relaxed groove.[19] The song's lyric "things have never been stranger; things are gonna stay strange" has been widely highlighted as a microcosm of the album's core message.[52][26][37][53] Koenig has said that the song explores "when you’re in a house and you hear other people having a good time and you don’t feel left out because you have a sense of belonging".[8] The in media res narrative of "Spring Snow" laments a farewell to a lover, depicting harsh rays of sunglight and heavy snow against a musical backdrop of chamber pop with a Latin groove.[54][55][56] The "sad" album closer "Jerusalem, New York, Berlin" references the Balfour Declaration,[28] and has musically been compared to the works of Scottish electronic musician Sophie.[29] Koenig chose the three titular cities for their significance to the Jewish people, in order to explore the "struggle of identity". He also found significance in what the three cities represented more broadly, with Jerusalem signifying religion, New York signifying money and Berlin signifying culture.[57]

The album's Japanese bonus tracks include "Houston Dubai", a cover of Mickey Newbury's "I Don't Think Much About Her No More" (1969) and "Lord Ullin's Daughter". The latter song features English actor Jude Law reciting Scottish poet Thomas Campbell's poem of the same name over a stripped back rendition of "Big Blue".[58]

Artwork

I didn't want it to be a cool photograph of the earth in space, I wanted it to have a little bit of that tension of being Mother Nature, the planet that we live on, but also something border-line uncomfortable with that raw digital whiteness just surrounding it.

Ezra Koenig[57]

The album's simple cover artwork depicts a globe in a cartoon style that hs been compared to the aesthetics of 1960s grass-roots group Another Mother for Peace, 1990s environmentalism and the early internet. The artwork also places emphasis on the Sony Music logo, and has been described as "in keeping with Koenig’s idiosyncratic idea of kitsch".[59][60] Discussing the cover, Koenig commented that he "always knew [he] wanted the Earth to be on this raw digital white background", and expressed interest in the idea of "bright, raw whiteness", such as on a blank piece of paper or the peak of a mountain, as well as on digital screens, relating the idea to the track "Unbearably White".[61] He also stated that the artwork relates to the album's motif of ecology, and a nostalgia for the optimism of environmentalism in the 1990s.[57] He initially considered using the poster for anime film Mobile Suit Gundam 00 Special Edition III: Return the World (2010) as the album's artwork, but decided that due to the album's length "the album cover ha[d] to be incredibly simple. Not full of texture and detail".[22] Koenig has likened this simplicity to the covers of other double albums such as the Beatles' White Album (1968), Fleetwood Mac's Tusk (1979) and Bruce Springsteen's The River (1980).[57]

Release and promotion

In September 2017, Koenig began teasing the album's progression through updates on the percentage of its completion.[62] Music from the album was debuted in June 2018 as a part of the band's first live show since 2014, in Ojai, California. At the show Koenig performed a snippet of "Flower Moon", noting that the song featured Steve Lacy.[63][64] During the group's Lollapalooza after-show in August, the group debuted new music from Koenig's phone for the audience, including "Harmony Hall" and "Sunflower".[65][66]

On January 17, 2019, Koenig announced the album title's acronym, FOTB, as well as its length. He also revealed that the album would be promoted by three monthly double A-side singles.[67] The album's first singles, "Harmony Hall" and "2021", were released on January 24, with the album's full title announced.[68] A music video for "Harmony Hall" was released in February, directed by Emmett Malloy.[69] The second double single, consisting of "Sunflower", featuring singer and guitarist Steve Lacy, and "Big Blue" was released on March 6, alongside an announcement of the album's May 3 release date and artwork.[66] The Jonah Hill-directed music video for "Sunflower" was released the following week.[70] The final double single was released on April 4, including "This Life" and "Unbearably White".[71] A music video for "This Life" was released on May 20, also directed by Malloy.[72]

Tour and live performances

The band incorporated an expanded touring line-up to promote the album, with Brian Robert Jones, Greta Morgan, Garrett Ray and Will Canzoneri joining the group.[73][74] In January 2019, the band announced a North American tour, beginning on May 17 at Gulf Shores, Alabama, for Hangout Music Festival. The tour is set to include a performance at Madison Square Garden in September. Supporting acts for the tour include Angélique Kidjo, Despot and Soccer Mommy.[75] In March further performances were announced across Europe.[76] The group also promoted the album in a series of shows dubbed the "Three Little London Shows" in March.[77] On May 5, two days after the album's release, the band performed three consecutive sets at Webster Hall in New York City, including a performance of the album in full and a majority of the group's back catalogue, as well as appearances by Haim and Dev Hynes. The show concluded a three-stop tour of New York State.[78][79]

On March 21, the group appeared on BBC Radio 1's Live Lounge, performing "Harmony Hall" and a cover of "Sunflower" by Post Malone and Swae Lee, in reference to the album's track of the same name.[80] In the week following the album's release, they appeared on The Tonight Show Starring Jimmy Fallon, performing "This Life" and "Jerusalem, New York, Berlin" alongside Haim,[81] and on Jimmy Kimmel Live!, performing "Sunflower".[82] On June 26, the band performed a piano-driven version of "This Life" and a cover of Bruce Springsteen's "I'm Goin' Down" (1985) at New York's Electric Lady Studios for the Spotify Singles series.[83]

Critical reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.5/10[84]
Metacritic82/100[85]
Review scores
SourceRating
AllMusic[86]
Chicago Tribune[54]
The Daily Telegraph[15]
The Guardian[13]
The Independent[25]
NME[38]
The Observer[14]
Pitchfork8.0/10[23]
Rolling Stone[12]
Vice (Expert Witness)B+[27]

Father of the Bride was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album has received an average score of 82, based on 32 reviews.[85]

David Fricke of Rolling Stone described the album as a "masterpiece", praising its meticulous attention to detail and musical breadth, and concluding that "Vampire Weekend now look like the smartest guys in the room, marshalling a sumptuous, emotionally complex music perfect in this pop moment".[12] The Guardian's Alexis Petridis wrote that the album showcased "a band pushing past their boundaries with striking results", and that the few ineffective ideas on the album are significantly outweighed by its highlights.[13] Kitty Empire of sister publication The Observer praised the album's breadth and maturity, writing that it "exudes warmth and no little sonic familiarity, while reflecting what is a radically altered set-up".[14] Chris DeVille of Stereogum wrote that the album could potentially be the group's magnum opus and that it "manages to be both a casual joyride and a multi-layered dissertation on the world’s ills".[52] Variety's Zack Ruskin asserted that the album consists of "inventive, often brilliant ideas delivered with little concern for how palatable listeners might find them", concluding that the album's pleasant music "could soundtrack an afternoon picnic" while its esoteric lyrics could "be used as fodder for a doctorate thesis on songwriting".[21] For The Wall Street Journal, Mark Richardson wrote that the album's quality justified the long wait for its release, writing that despite its length the album felt focused as opposed to sprawling.[87]

Jon Pareles of The New York Times praised the album's contrast between heavy lyrics and bright music,[26] while Neil McCormick of The Daily Telegraph complimented Koenig's "joyous" experimentation with music and pithy language, advising listeners not to take the record too seriously.[15] For The Independent, Jazz Monroe commended Koenig for maturing uniqely, as opposed to resorting to self-seriousness, writing that the album's low stakes and "unfashionable" nature were its strongest features.[25] In her review for AllMusic, Heather Phare wrote that the album "finds Vampire Weekend embracing change and delivering some of their most mature and satisfying music in the process".[86] Thomas Smith of NME praised the album's fun nature, writing that it "sounds like the work of some pals noodling away in the studio and shooting the shit" and "more often than not it’s a hit, not a miss".[38] In Robert Christgau's Expert Witness column for Vice, he applauded Koenig's complex exploration of class, describing it as a "sprightly, allusive, elusive, technically accomplished collection" that generally "bespeak[s] some fraught combination of lost youth, career anxiety, and, way down deep, political dismay." His one caveat was that the songs are "melodic yet seldom uplifting or effervescent".[27]

In a more critical review, Greg Kot of the Chicago Tribune described the album as "mild", noting that Koenig's lyrical expressions of discomfort were not conveyed through the pleasant music.[54] For Pitchfork, Mike Powell opined that the album was somewhat overlong and dispensable compared to past releases, and that its discussion of contentment and belonging felt unsuited to the group, but praised the album's braveness and new musical direction.[23] Steven Edelstone of Paste criticized the album's lyrics, and Koenig's adoption of a "derivative" musical style that did not fit the band, concluding that "it’s simply impossible not to wonder what happened and where they lost their way, culminating in a major disappointment for perhaps the most anticipated indie rock album in recent memory".[16] Spin's Jordan Sargent argued that the album was likely the band's worst, yet still rewarding. He praised the band's development, writing: "On the one hand, everything sounds spectacular; on the other, the album does contain some of the worst ideas the band has ever put to tape".[53]

Commercial performance

Father of the Bride debuted at number one on the US Billboard 200 with 138,000 album-equivalent units, including 119,000 pure album sales. It is Vampire Weekend's third consecutive US number-one album.[88][89] Additionally, 13 songs from the album, including all six of its singles, reached the top 50 of Billboard's US Hot Rock Songs chart.[90] The album also reached number two in the UK[91] and Scotland,[92] and the top ten in Portugal,[93] Ireland,[94] Canada,[95] Australia[96] and the Flemish Region of Belgium.[97]

Track listing

Credits adapted from liner notes.[1]

No.TitleWriter(s)Producer(s)Length
1."Hold You Now" (featuring Danielle Haim)
2:33
2."Harmony Hall"Koenig
5:08
3."Bambina"Koenig
  • Rechtshaid
  • Koenig
1:42
4."This Life"
4:28
5."Big Blue"Koenig
1:48
6."How Long?"
  • Rechtshaid
  • Koenig
  • Macklovitch[a]
3:32
7."Unbearably White"Koenig
4:40
8."Rich Man"
  • Rechtshaid
  • Koenig
2:29
9."Married in a Gold Rush" (featuring Danielle Haim)KoenigRechtshaid3:42
10."My Mistake"
  • Rechtshaid
  • Koenig
  • DJ Dahi
  • Buddy Ross[a]
3:18
11."Sympathy"
  • Koenig
  • Rechtshaid
  • Rechtshaid
  • Koenig
3:46
12."Sunflower" (featuring Steve Lacy)Koenig
  • Rechtshaid
  • Koenig
2:17
13."Flower Moon" (featuring Steve Lacy)
  • Koenig
  • Rechtshaid
  • Sam Gendel
  • Rechtshaid
  • Koenig
  • Lacy[a]
3:57
14."2021"
  • Rechtshaid
  • Koenig
1:38
15."We Belong Together" (featuring Danielle Haim)
  • Koenig
  • Batmanglij
Batmanglij3:10
16."Stranger"Koenig
  • Rechtshaid
  • Koenig
4:08
17."Spring Snow"
  • Koenig
  • BloodPop
  • Gendel
  • Rechtshaid
  • Koenig
  • BloodPop
  • Ross[a]
2:40
18."Jerusalem, New York, Berlin"Koenig
  • Rechtshaid
  • Koenig
  • BloodPop[a]
  • Ross[a]
2:54
Total length:57:50
Japanese edition bonus tracks[2]
No.TitleWriter(s)Producer(s)Length
19."Houston Dubai"Koenig
  • Rechtshaid
  • Koenig
2:19
20."I Don't Think Much About Her No More"Mickey Newbury
  • Rechtshaid
  • DJ Dahi
2:49
21."Lord Ullin's Daughter" (featuring Jude Law)
  • Rechtshaid
  • DJ Dahi
3:38
Total length:66:36

Notes

  • ^[a] signifies an additional producer.

Samples

Personnel

Musicians[c]

Engineers[1][100][2]

  • Ariel Rechtshaid – engineering (1–14, 16–21), mixing (1, 3, 5–14, 16–21)
  • Chris Kasych – engineering (1–14, 16–19)
  • John DeBold – engineering (1–14, 16–21)
  • Hiroya Takayama – engineering (1–14, 16–19)
  • Takemasa Kosaka – engineering (1–14, 16–19)
  • Dave Schiffman – engineering (2, 8, 9, 12, 19)
  • P-Thugg (Patrick Gemayel) – engineering (4)
  • Michael Harris – engineering (9, 13, 15, 16)
  • Buddy Ross – engineering (10), mixing (10)
  • Shawn Everett – engineering (11), mixing (1, 16)
  • Rostam Batmanglij – engineering (15), mixing (15)
  • Dalton Ricks – engineering (15)
  • Nick Rowe – engineering (15)
  • Jude Law – engineering (21)
  • Manny Marroquin – mixing (2, 4)
  • Chris Galland – mix engineering (2, 4)
    • Robin Florent – assistance (2, 4)
    • Scott Desmarais – assistance (2, 4)
  • Ezra Koenig – mixing (14, 19–21)
  • Emily Lazar – mastering
    • Chris Allgood – assistance

Artwork[1]

  • Nick Harwood – art direction
  • Primo Kahn – cover design
  • Public-Library – cover design
  • Brendan Ratzlaff – illustration

Charts

Chart (2019) Peak
position
Australian Albums (ARIA)[96] 8
Austrian Albums (Ö3 Austria)[101] 13
Belgian Albums (Ultratop Flanders)[97] 8
Belgian Albums (Ultratop Wallonia)[102] 24
Canadian Albums (Billboard)[95] 6
Dutch Albums (Album Top 100)[103] 11
French Albums (SNEP)[104] 38
German Albums (Offizielle Top 100)[105] 21
Irish Albums (OCC)[94] 5
Italian Albums (FIMI)[106] 77
Japanese Albums (Oricon)[107] 30
New Zealand Albums (RMNZ)[108] 24
Norwegian Albums (VG-lista)[109] 14
Portuguese Albums (AFP)[93] 3
Scottish Albums (OCC)[92] 2
Spanish Albums (PROMUSICAE)[110] 34
Swedish Albums (Sverigetopplistan)[111] 31
Swiss Albums (Schweizer Hitparade)[112] 15
UK Albums (OCC)[91] 2
US Billboard 200[88] 1
US Top Rock Albums (Billboard)[113] 1

Release history

Region Date Label Format Catalog
Various May 3, 2019
CD 19075930132 (US)
LP 19075930141 (US)
Cassette 19075946164 (US)
Japan May 15, 2019 Sony Records International CD SICP-6117

Notes

  1. ^ Except elements of "We Belong Together", recorded in April 2012.
  2. ^ Except "We Belong Together", recorded at The Stanley's House in Martha's Vineyard, Echo Park Backhouse and Vox;[1] and "Lord Ullin's Daughter", recorded at Heavy Duty in Burbank, CA.[2]
  3. ^ No official list of musicians has been released, and thus the following list is not comprehensive.[8][98][51][68][99]

References

  1. ^ a b c d e f Father of the Bride (liner notes). Vampire Weekend. New York City: Columbia Records. 2019. 19075930141.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  2. ^ a b c Father of the Bride (Japanese edition) (liner notes). Vampire Weekend. Tokyo: Sony Music Japan. 2019. SICP-6117.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  3. ^ Baron, Zach (January 24, 2019). "Rebirth Of A Vampire". GQ. Retrieved May 16, 2019.
  4. ^ Grebey, James (January 26, 2016). "Rostam Batmanglij Quits Vampire Weekend". Spin. Retrieved January 26, 2016.
  5. ^ Blistein, Jon (January 26, 2016). "Ezra Koenig Talks New Vampire Weekend LP, Rostam Batmanglij's Exit". Rolling Stone. Retrieved January 27, 2016.
  6. ^ Breihan, Tom (November 18, 2016). "Vampire Weekend Reportedly Sign To Columbia For LP4". Stereogum. Retrieved May 16, 2019.
  7. ^ Koenig, Ezra (March 25, 2017). "every day I get comments & questions about the next Vampire Weekend album". Retrieved March 7, 2019 – via Instagram.
  8. ^ a b c d e f g h i j k l Koenig, Ezra; Longstreth, Jake; Rechtshaid, Ariel (May 5, 2019). "Father of the Bride". Time Crisis. Season 5. Episode 91. Beats 1.
  9. ^ Helman, Peter (September 19, 2017). "Ezra Koenig Shares Update on New Vampire Weekend Album". Stereogum. Retrieved May 13, 2019.
  10. ^ Brown, Eric Renner (December 11, 2017). "Ezra Koenig previews Vampire Weekend's fourth LP: 'You want to age gracefully and not boringly'". Entertainment Weekly. Retrieved July 30, 2018.
  11. ^ Daly, Rhian (August 5, 2018). "Vampire Weekend's Ezra Koenig tells Lollapalooza fourth album is 'done'". NME. Retrieved January 20, 2019.
  12. ^ a b c d e f g h Fricke, David (April 30, 2019). "Review: Vampire Weekend's Modern California Pop Masterpiece 'Father of the Bride'". Rolling Stone. Retrieved May 1, 2019.
  13. ^ a b c d e f Petridis, Alexis (May 2, 2019). "Vampire Weekend: Father of the Bride review – a scrapbook of brilliant ideas". The Guardian. Retrieved May 2, 2019.
  14. ^ a b c d e Empire, Kitty (May 4, 2019). "Vampire Weekend: Father of the Bride review – a marriage of angst and optimism". The Observer. Retrieved May 5, 2019.
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