Vampire Weekend’s Modern Vampires Of The City got here out 10 years in the past right now — learn our Anniversary piece on it right here — and right now bandleader Ezra Koenig shared some phrases on it. “MVOTC is ten years old. Wild. Good occasion to slam a Dunkin Donuts iced coffee and reflect,” he wrote in an Instagram put up.
“Rostam and I spent about a year writing and recording this album before we moved into the final phase with Ariel,” Koenig continued. “It was far and away our most ‘studio album.’ MVOTC didn’t have songs like A-Punk or Cousins which began as riffs and started to come to life in the practice room. This is an album of more deliberate composition and detailed, patient recording.”
Here’s the complete message:
MVOTC is ten years previous. Wild. Good event to slam a Dunkin Donuts iced espresso and mirror:
Rostam and I spent a few 12 months writing and recording this album earlier than we moved into the ultimate part with Ariel.
It was far and away our most “studio album.” MVOTC didn’t have songs like A-Punk or Cousins which started as riffs and began to return to life within the apply room. This is an album of extra deliberate composition and detailed, affected person recording.
About half the songs began with one thing I’d written (Hannah Hunt, Finger Back and Step had been kicking round as ideas for just a few years) and the opposite half all started with a chunk of music from Rostam, usually with drums, bass and every little thing sketched out. I bear in mind when he performed me the beat for “Don’t Lie” for the primary time. That drum sample and descending chord development on the organ moved me deeply. I began singing the vocal melody nearly instantly.
I equally bear in mind listening to his first instrumental of what turned the guts of “Diane Young.” That music was thrilling and it took me a very long time to write down lyrics that I believed have been worthy of it.
I feel that is the VW album the place Rostam’s composition and manufacturing shines by probably the most and he deserves particular reward and a focus for his work right here. His opening strings on Everlasting Arms are a favourite second of mine…or the penny whistle melody on Unbelievers…or the explosive drum beat on Finger Back. All superb work on his half. These moments and lots of extra are why this album nonetheless means one thing to folks ten years later.
In the ultimate part, Ariel helped us break by a number of the emotional and musical blocks that made ending the file so difficult. He additionally helped us uncover recording to tape for the primary time, giving the album a singular sound in our catalog and offering an excellent ambiance when CT and Baio got here in to assist carry the drum and bass components to life with their performances.
Shout-out Emily Lazar who mastered it and blended Unbelievers. Plus the workforce at XL. Imran, Richard, Ben and Kris (who took a formative stroll on the West Side Highway with me.) Steve Buscemi guidelines.
Thanks for listening!
-Ezra