Vampire Weekend’s Trendy Vampires Of The Metropolis got here out 10 years in the past at present — learn our Anniversary piece on it right here — and at present bandleader Ezra Koenig shared some phrases on it. “MVOTC is ten years previous. Wild. Good event to slam a Dunkin Donuts iced espresso and replicate,” he wrote in an Instagram submit.
“Rostam and I spent a few 12 months writing and recording this album earlier than we moved into the ultimate part with Ariel,” Koenig continued. “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 come back to life within the follow room. That is an album of extra deliberate composition and detailed, affected person recording.”
Right here’s the total message:
MVOTC is ten years previous. Wild. Good event to slam a Dunkin Donuts iced espresso and replicate:
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 come back to life within the follow room. That 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 Again and Step had been kicking round as ideas for a couple of years) and the opposite half all started with a bit of music from Rostam, typically with drums, bass and the whole lot sketched out. I keep 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 virtually instantly.
I equally keep in mind listening to his first instrumental of what grew to become the guts of “Diane Younger.” That music was thrilling and it took me a very long time to write down lyrics that I assumed have been worthy of it.
I believe that is the VW album the place Rostam’s composition and manufacturing shines via essentially the most and he deserves particular reward and a spotlight for his work right here. His opening strings on Eternal Arms are a favourite second of mine…or the penny whistle melody on Unbelievers…or the explosive drum beat on Finger Again. 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.
Within the last part, Ariel helped us break via a number of the emotional and musical blocks that made ending the report so difficult. He additionally helped us uncover recording to tape for the primary time, giving the album a novel sound in our catalog and offering an important environment when CT and Baio got here in to assist convey the drum and bass components to life with their performances.
Shout-out Emily Lazar who mastered it and combined Unbelievers. Plus the staff at XL. Imran, Richard, Ben and Kris (who took a formative stroll on the West Facet Freeway with me.) Steve Buscemi guidelines.
Thanks for listening!
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