Released back in 2013, the album was the third full-length LP to be released by the band, and featured fan favourites including “Unbelievers”, “Step” and “Diane Young”. Now, a decade after its launch, Koenig has listed the reasons why he thinks the album “still means something to people”.
The frontman took to social media in May to discuss the impact of the album, and provide fans with an insight into the writing and recording process the band went through at the time.
Ezra Koenig reflected upon Vampire Weekend’s “Modern Vampires Of The City” album, a decade after it was first released. Is ten years old. Wild. Good occasion to slam a Dunkin Donuts iced coffee and reflect,” he began. “Rostam [Batmanglij] and I spent about a year writing and recording this album before we moved into the final phase…
“It was far and away our most ‘studio album,’” he continued. “Modern Vampires Of The City” 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.”
He also recalled how he felt listening to the instrumental versions of both “Don’t Lie” and ‘Diane Young’ for the first time, writing: “I remember when [Batmanglij] played me the beat for ‘Don’t Lie’ for the first time. That drum pattern and descending chord progression on the organ moved me deeply. I started singing the vocal melody almost immediately.
“I similarly remember hearing his first instrumental of what became the heart of ‘Diane Young’. That music was exciting and it took me a long time to write lyrics that I thought were worthy of it.”
According to Koenig, it was the composition and production from Batmanglij that made the album monumental to their discography, and is the reason why the release “still means something to people ten years later.”
‘Modern Vampires Of The City’ the Third Vampire Weekend album saw the band back on form. They sound like they are having fun again. The songs are pure pop and instant. ‘Step’ is an absolutely beautiful piece of r&b-infused slow-pop demonstrating Koenig on top lyrical form, while the likes of ‘obvious Bicycle’ and ‘Hannah Hunt’ see the band continue down the slightly more downbeat (but still uber catchy) route. Perfect pop for 2013.
The Fat Angel Sings 