It’s hard to talk about Vampire Weekend without also discussing privilege. To be fair, they’ve largely brought it on themselves. It’s been more than a decade since the release of their first album, but you can probably still remember the uniform of their earliest iteration; to this day, no critic can mention them without also referencing the polo shirts and the boat shoes. And if you remember that then you might also remember a song called “Cape Cod Kwassa Kwassa,” its title borrowing the language of Congolese dance music while also betraying the band’s upper-class roots. There is a certain audacity to how this Ivy League indie guitar band with a white male singer has routinely pilfered from the African continent– a certain cultural immunity, even– but it’s to the enormous credit of Vampire-in-Chief Ezra Koenig that he’s generally handled his privilege responsibly. That’s never been truer than on the long-gestating fourth Vampire Weekend album, Father of the Bride, which finds Koenig litigating that privilege ruthlessly, both through drollery (he had to have known what we’d say about a Vampire Weekend song called “Unbearably White”) and through jaundiced melancholy. Surely it is telling that the song on which the whole album seems to hang is one about forsaking wealth. “Married in the Gold Rush,” a Grand Old Opry-styled duet with Danielle Haim, is a song about a union consummated in prosperity but destined to ruin. “We got married in the gold rush/ And the sight of gold will always bring me pain,” Haim confesses. But what’s really telling is that, on an album where the dominant mood is a kind of millennial malaise, a sad sack aloofness, it’s in this song that Koenig seems surest about how to move forward toward something like peace and contentment. “Time to disavow the gold rush,” he sings, “and the bitterness that’s flourished in its wake.” It sounds like a plan.
That song is preceded by one called “Rich Man,” which might put you in the headspace of Jesus of Nazareth and a certain young ruler. Here, Koenig alleges that he’s perhaps the only wealthy man on the planet whose treasures have brought real satisfaction. Maybe he’s telling the truth, but he certainly doesn’t sound happy on Father of the Bride, where nearly every one of the 18 songs weds major chords and a jubilant gait to lyrics laced with strychnine despair. Koenig sings here of crumbling institutions, broken covenants, and shattered faith; he sounds like a man who’s blessed but isn’t content, well-off but absent peace of mind. He may have been “born before the gold rush,” but what does it profit a man? When we encounter him on Father of the Bride, he’s sulking in the corner on his own wedding day (“crying in those rumpled sheets like someone’s ‘bout to die,” Haim appraises), bemoaning “this life and all its suffering,” apologizing to a forbearing partner for all his hand-wringing introspection (“all I did was waste your time”), and looking back ruefully on his gilded matrimony (“those wedding bells were ringing out our fate”). Maybe he’s more like that rich man from the Bible than he lets on; maybe he sounds so miserable here because he’s straining to squeeze through the eye of a needle.
Trouble on the inside spills over to trouble on the outside, and while Koenig tries to find some direction in his one wild and precious life he witnesses the slow collapse of his one wild and precious world. It’s the same world emblazoned on the album cover in glorious ClipArt chic; Mother Earth.bmp, Lindsay Zoladz calls it. And it’s the same world he laments in one song after another about ecological apocalypse. “Big Blue, for once in my life, I felt close to you,” he coos in “Big Blue,” a lover’s hymn for a dying world, voiced by a faithless paramour who’s come around too little, too late. And in the following “How Long?”– even its title suggesting a psalm of lament– Koenig has his eye on the rapidly-rising sea levels; there’s no question as to whether we’re all drowning, there’s just the question of when. Meanwhile, “Harmony Hall” spies a serpent slinking through holy and consecrated spaces– the halls of power, God’s misty-wet garden, or whatever other hallowed place once thought incorruptible. In this context, maybe his boast about being a rich man with a satisfied mind isn’t a sign of contentment so much as callousness. You’ll notice that, amidst the clang and pep of “Bambina,” Koenig all but admits he won’t stick around when the shit hits the fan. “My Christian heart cannot withstand/ The thundering arena/ I’ll see you when the violence ends,” he addresses his lover, apologetic and shuffling for the nearest exit. The song’s animating emotion is a kind of pre-emptive survivor’s guilt. To know that, when the crisis comes, you’ll be one of the lucky ones who is spared the worst of it… what could be more privileged than that?
There’s another sense in which Koenig has always handled his privilege with care: Situated on the long historic continuum of white dudes appropriating African tropes and conventions, each Vampire Weekend album has tilted graciously toward respectful footnoting and generous contextualization. The man who brazenly titles his song “Cape Cod Kwassa Kwassa” isn’t out to plunder; maybe to provoke, possibly even to troll, but mostly to draw connections and set the table for a more inclusive conversation. That conversation continues on “Rich Man,” which puts a properly-credited sample of the African guitarist S.E. Rogie into dialogue with American country and blues idioms. Koenig’s interrogation of privilege also leads him into more domestic pilfering than he’s ever done before, mining the fertile veins of dad rock in the same way previous albums sought inspiration on other continents. Included in this pan-cultural milieu are songwriting structures on loan from the Country Music Hall of Fame; African flourishes learned from Graceland; immaculate guitar tones snagged from Dave Edmunds, jittery funk absorbed from David Byrne; in “This Life,” the very same bounce Van Morrison conjured for “Brown Eyed Girl,” long a staple of oldies radio and middle school dances.
Such a bounty of sounds and influences suggests something of the Spotifycore ethos, a concentrated eclecticism that lends itself equally well to deep immersion or casual play, here funneled through the sprawl of a classic double-album structure. By all means, draw parallels to the venerated twofer of your choice– to the whiplash collisions of The Beatles, the globetrotting roots music of London Calling— but the most valuable antecedent of all may be Fleetwood Mac’s Tusk. Like that album, Father of the Bride feels a bit like the outpouring of a mad genius whose perfectionist studiocraft can seem insular at first, but gradually opens itself up and provides countless details worthy of obsession. (The magisterial acoustic guitar figure that undergirds “Harmony Hall”? You can play it on an infinite loop!) There’s even a nod to Lindsey Buckingham’s punchdrunk drumlines in the brassy pomp and circumstance of “We Belong Together,” the only Father of the Bride track with credits for departed Vampire Rostam Batmanglij. Indeed, Vampire Weekend has never sounded less like a band and more like a Koenig solo venture, fleshed out by a revolving cast of supporting players who include everyone from Haim to a barely-discernible Jenny Lewis. Just listen to opener “Hold You Now,” where the song’s gestures toward country-music naturalism are disrupted by a sampled gospel choir, or to the Vocoder-warped cha-cha-cha in “Spring Snow,” and you’ll hear how Father of the Bride’s pleasures emanate from one-man-band studio impressionism more than they do the pretense of live performance. True to the double album spirit, some of the most rewarding moments are the most off-script ones, suggesting rabbit trails Koenig and Co. might circle back to on album #5; in “My Mistake,” the lone song here that doesn’t sound light and breezy, Koenig croons like a jazz singer and mopes like Thom Yorke; in a couple of jams with Steve Lacy, he gets noodly and winsomely weird; in “Sympathy,” he orchestrates a rowdy, speaker-rattling flamenco.
The scaffolding that holds all of it in place is a trilogy of he-said, she-said numbers with Haim– call them scenes from a marriage. The marriage trifecta begins with “Hold You Now,” where the chapel bells are ringing but Koenig’s worried mind is cluttered with second-guesses and what-ifs. In “Married in the Gold Rush,” he’s ready to disavow affluence but keep his bride by his side. And in “We Belong Together,” husband and wife realize that, for all Koenig’s jitters, their mismatched matrimony actually makes a lot of sense; he’s only sorry he’s wasted so much of her time with his anxieties. It would be a tidy end to the story were there not three songs left on the album, culminating with the hymn-like austerity of “Jerusalem, New York, and Berlin,” where Koenig’s back to second-guessing, lamenting the “wicked world” just outside his window. It’s an unsettled conclusion to the record, and maybe that’s the point: The quest for contentment may redeem “this life and all its suffering,” but it’s not going to cure it– and to ever feel fully at home here is a privilege none of us are meant to know.