vampire weekend album download zip Vampire weekend album download zip. Father of the Bride is the fourth studio album by American indie rock band Vampire Weekend. It wasreleased on May 3, 2019 by Columbia Records as their first album on a major label, and was preceded by three double singles: "Harmony Hall" / "2021", "Sunflower" / "Big Blue" and "This Life" / "Unbearably White". The album is the band's first project in nearly six years, following Modern Vampires of the City (2013),and the group's first album since multi-instrumentalist and producer Rostam Batmanglij's departurefrom the group. The album was primarily produced by Modern Vampires of the City collaborator ArielRechtshaid and lead singer Ezra Koenig, and features numerous external collaborators, including Danielle Haim, Steve Lacy, Dave Macklovitch of Chromeo. DJ Dahi, David Longstreth, BloodPop, MarkRonson, and Batmanglij. Year: 2019 Genre: Indie Pop / Indie Rock Quality: mp3, 320 kbps. Track list: 01. Hold You Now (feat. Danielle Haim) 02. Harmony Hall 03. Bambina 04. This Life 05. Big Blue 06. How Long? 07. Unbearably White 08. Rich Man 09. Married in a Gold Rush (feat. Danielle Haim) 10. My Mistake 11. Sympathy 12. Sunflower (feat. Steve Lacy) 13. Flower Moon (feat. Steve Lacy) 14. 2021 15. We Belong Together (feat. Danielle Haim) 16. Stranger 17. Spring Snow 18. Jerusalem, New York, Berlin. The "lurching" art pop of "How Long?" contrasts jovial keyboards, sound effects, harmonies and funky 1970s-inspired guitars against dark and bitter lyrics about the potential demise of Los Angeles.[20][27][17] "Unbearably White" is a "colorful" art pop song, which grows and shifts to reveal isolated vocals, handbells, jazz fusion-inspired bass guitar, and orchestral surges, and lyrically discusses a failing relationship. Despite contrary comments made by Koenig prior to the song's release, the track does not explore race.[19][35][36][17] The cryptic "Rich Man" samples palm-wine guitarist S. E. Rogie and features lush strings, with Koenig "crooning" about romance, wealth and ratios.[25][37] "Married in a Gold Rush" is a "lush" country song which also features Danielle Haim. How Instagram Is Keeping the Bootleg Band Merch Tradition Alive. From the Grateful Dead to Vampire Weekend, fan accounts highlighting bootleg designs have become devoted communities. When Mason Warner first created the @fromthelot Instagram account in 2015, he had no idea it would take off the way it did. “It was more just a resource to collect graphics,” he tells InsideHook. But since then, the account, which highlights bootleg Grateful Dead merch past and present has evolved into a bonafide fan community, a digital extension of the Shakedown Street parking-lot vending areas outside the band’s concerts in the ’80s and ’90s. “The funny thing about From the Lot is when I sort of decided to make it more like ‘okay, this is gonna be like the Instagram archive of Grateful Dead graphics,’ I assumed there would be an end date at some point, like, dude, how many Grateful Dead tees can there be out there, you know what I mean?” he says. “But yeah, it’s almost five years, and I still see stuff like almost weekly that I’m like, ‘whoa, I’ve never seen that one before.’” That should come as no surprise if you know anything about the power of Deadheads’ devotion. But it’s not just fans of the Dead or punk and hardcore bands (whose long history with making and sharing bootleg t-shirts and other merch make their continued DIY-ing a no-brainer) who have taken to showing off their undying love in the form of unlicensed merch posted online. Fans of Vampire Weekend, once saddled with the college-kids-in-boat-shoes stereotype, have built what GQ recently called a “very deep merch galaxy” that put the band “squarely into the Grateful Dead merch tradition.” That Dead connection makes sense if you’ve picked up on the band’s influence on Vampire Weekend’s latest album, Father of the Bride , or if you’re a regular listener to Vampire Weekend frontman Ezra Koenig’s Time Crisis Beats 1 radio show — cohosted by Jake Longstreth, who plays in a Dead cover band called Richard Pictures. Dillon Krieger, who created the @fromthefreezer Instagram account chronicling the many fan- made Vampire Weekend and Time Crisis designs, also cites Warner’s From the Lot as a major influence. “My page, to be real, it’s like a duplicate ripoff of that account but in a Vampire Weekend/Time Crisis/Richard Pictures format,” he tells InsideHook with a laugh. From the Freezer has earned Koenig’s stamp of approval, and the singer has publicly endorsed the idea of fans making their own designs. (“I really like the amount of homemade tie-dye jobs and bootleg merch I’ve been seeing at shows,” Koenig told Rolling Stone earlier this month. “I think there’s something about this album that, maybe because of all these symbols, encourages people to do their own thing with it. It obviously feels good to sell a bunch of merch, but it also feels good to look out see that people took the symbols and made their own hats and shirts.”) Krieger, who cites Koenig’s lyricism as the inspiration for much of the homemade merch (“Like, he made a year famous,” he says, pointing to the amount of t-shirts and stickers he’s seen that reference Father of the Bride track “2021.”), says he was initially apprehensive about making From the Freezer since the designs it highlights are unlicensed. “It’s cool that he approves of it,” he says. “It’s cool because I’ve had people tell me ‘he shared your stuff,’ so it’s exciting. I was a little hesitant to make it because it was like, ‘how is he gonna feel about this?’, but it’s nice that he mentioned it on Time Crisis and it’s much appreciated.” Koenig, presumably, understands the difference between fans getting creative to show their appreciation for Vampire Weekend’s music and vendors hawking counterfeit goods to make a buck off of the band. Even in the early days of the Dead, Warner notes, fans didn’t sell their bootleg merch hoping to turn a profit. “From my understanding, the Dead never really made merch in the late ’60s or the ’70s,” he says. “There was like band tees or crew tees, but there was no merch booth like we have today, so fans started to make their own shirts because they wanted to wear their favorite band’s t-shirt, and in addition to that, once the whole sort of like Deadhead, traveling culture took off, once people were going to literally every show they could possibly go and the camping and all that rose out of it, it was a good way to sort of pay for your ticket and pay for your food and pay for your gas money.” But, as Warner points out, while Shakedown Street is perhaps most iconic, the phenomenon isn’t unique to the Dead. “You’ve always had that,” he says. “You’ve had that in hardcore, you’ve had that in even pop music, definitely in hip-hop. I think as much as from a corporate standpoint, you have the behemoths that try to control that and kids getting their stuff taken in the parking lot at shows and stuff, I really feel that without the bootleg culture, you really wouldn’t have the fanbase that you have now. And that goes for almost any band of any genre of music.” “And what’s funny to me,” he continues, “I’ve always sort of been into bootlegging stuff, like skateboarding or punk rock or Bart Simpson or Grateful Dead or whatever, but you’ve got fashion houses like Gucci putting out stuff that was like bootlegged in the ’80s. To me, it’s like nine out of 10 times, you show me something that’s licensed versus something that’s bootlegged, and usually the bootleg speaks to me better than something that’s licensed…I think it all started from the DIY, and it’s like ‘oh man, this is my favorite band, and maybe I can’t afford a $100 ticket and a $40, $50, $60 t-shirt on top of it to have that experience, but I can make my own shirt.’” That distinction is perhaps why artists like John Mayer, who has frequently been spotted in bootleg Dead designs, have embraced the world of unlicensed merch, often going as far as to help them go legit. Mayer has collaborated frequently with designer Jeremy Dean, whose “Wonders of Black Flag” merch combines Dead imagery with the logo and other iconography related to the legendary hardcore band. Dean, who has worked with Mayer on his own official merch as well as Dead & Company and Mac Miller tribute designs, recently told the Philadelphia Inquirer that when the guitarist first summoned him backstage at a concert, he had no idea what to expect. “I thought I was busted,” he said. “I said, ‘I’m not going to show up to you with a full team ready to take me down, right?’ He goes, ‘[No,] I promise you.’” Vampire Weekend. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at £12.49. With the Internet able to build up or tear down artists almost as soon as they start practicing, the advance word and intense scrutiny doesn't always do a band any favors. By the time they've got a full-length album ready to go, the trend-spotters are already several Hot New Bands past them. Vampire Weekend started generating buzz in 2006 -- not long after they formed -- but their self-titled debut album didn't arrive until early 2008. Vampire Weekend also has just a handful of songs that haven't been floating around the 'Net, which may disappoint the kind of people who like to post "First!" on message boards. This doesn't make those songs any less charming, however -- in fact, the band has spent the last year and a half making them even more charming, perfecting the culture collision of indie-, chamber-, and Afro-pop they call "Upper West Side Soweto" by making that unique hybrid of sounds feel completely effortless. So, Vampire Weekend ends up being a more or less official validation of the long- building buzz around the band, served up in packaging that uses the Futura typeface almost as stylishly as Wes Anderson. At times, the album sounds like someone trying to turn a Wes Anderson movie back into music (it's no surprise that the band's keyboardist also writes film scores); there's a similarly precious yet adventurous feel here, as well as a kindred eye and ear for detail. Everything is concise, concentrated, distilled, vivid; Vampire Weekend's world is extremely specific and meticulously crafted, and Vampire Weekend often feels like a concept album about preppy guys who grew up with classical music and recently got really into world music. Amazingly, instead of being alienating, the band's quirks are utterly winning. Scholarly grammar ("Oxford Comma") and architecture ("Mansard Roof") are springboards for songs with impulsive melodies, tricky rhythms, and syncopated basslines. Strings and harpsichords brush up against African-inspired chants on "M79," and lilting Afro-pop guitars and a skanking beat give way to Mellotrons on "A-Punk." It's a given that a band that's this high concept has hyper-literate lyrics: the singer's name is the very writerly Ezra Koenig, and you almost expect to see footnotes in the album's liner notes. Once again, though, Vampire Weekend's words are evocative instead of gimmicky. The irresistible "Cape Cod Kwassa Kwassa" rhymes "Louis Vuitton" with "reggaeton" and "Benneton" and name-drops Peter Gabriel (though it's clear the band spent more time with Paul Simon's Graceland) without feeling contrived. "Campus" is another standout, with lines like "I see you walking across the campus. how am I supposed to pretend I never want to see you again?" throwing listeners into college life no matter what their age. Koenig has a boyish, hopeful quality to his voice that completes Vampire Weekend, especially on bittersweet but irrepressible songs like "I Stand Corrected" and album closer "The Kids Don't Stand a Chance." Fully realized debut albums like Vampire Weekend come along once in a great while, and these songs show that this band is smart, but not too smart for their own good. © Heather Phares /TiVo. Father of the Bride. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $12.99. In a little more than a decade, Vampire Weekend has taken it slow. After the eponymous Vampire Weekend (2008), Contra (2010) and Modern Vampires of the City (2013), Ezra Koenig’s band took a six-year break punctuated by the departure of the very influential Rostam Batmanglij who released an excellent solo record Half-Light in 2017. Their last album to date, Modern Vampires of the City , was a distinctive evolution in the works of the New York combo. The Talking Heads influence had been abandoned for a more refined and polished pop sound, found as much in the melodies and harmonies as in its style. Koenig, now the main creative force left in the group, has left New York and relocated to LA. Father of the Bride confirms his artistic ambition. His central style remains inherently pop, but each of the 18 songs in the album offer a different outlook. There is a bit of everything in this copious record; The Beatles, Beach Boys, Fleetwood Mac, Supertramp, Paul Simon, Wilco, Grateful Dead and hundreds of other influences can be noted. The collaborators on the album are equally diverse: the pedal steel and impressionist guitars of Greg Leisz, the voice of Danielle Haim of HAIM, the guitar of Dave Longstreth of the Dirty Projectors, Steve Lacy of the Internet and even Rostam enters the fold on two titles. While listening to the record, one might ask themselves if Ezra Koenig has made a White Album (the most eclectic album by the Beatles) all by himself… © Marc Zisman/Qobuz. Modern Vampires of the City. Vampire Weekend's third album is a remarkable progression from a band that was already functioning at a high level. The songs are more spontaneous and dynamic and, along with the more lived-in sonics, Modern Vampires finds the group taking a leap forward into emotional directness. “It’s really hard to even talk about the internet without seeming instantly corny," Ezra Koenig told Pitchfork recently, "even the word 'blog' sounds a little grandma-y." He should know. The Vampire Weekend singer and lyricist gave up on his own Blogspot site, Internet Vibes, seven years ago, as he finished up his English studies at Columbia University (the final post's title: "I HATE BLOGGING"). But before he graduated from the ye olde blogosphere, Koenig held forth on a vast array of topics-- from geography, to Wellington boots, to music writer Robert Christgau's allegedly unfair critique of Billy Joel's oeuvre-- looking at everything from a incisively self-aware, curious, and optimistic angle. What's most impressive is the way he's able to connect art and ideas from different eras and continents into a kind of ecstatic worldview. One particularly inspired ramble spins an analytic web from a friend's visit to Morocco, the history of the Strait of Gibraltar, a 1984 interview between Bob Dylan and Bono, the film The Secret of Roan Inish, and National Geographic 's famed Afghan refugee cover-- and not only does it make sense, it's written in a way that's funny and smart and completely inclusive. Pretty good for a 22-year-old kid from middle-class New Jersey. Now 28, Koenig's creative medium has changed, but his omnivorous cultural appetite has not. Take "Step", the third song on Vampire Weekend's third album, Modern Vampires of the City -- the record that is already forcing one-time haters of this band to rethink their entire lives. At its core, the song reads like an ode to obsessive music fandom in which the object of Koenig's affection is "entombed within boombox and walkman." Modest Mouse are name-checked. But the sense of infatuation extends beyond a list of influences and is embedded into the music itself. The chorus and parts of the melody are borrowed from wordy Oakland rap act Souls of Mischief's "Step to My Girl"-- which itself samples Grover Washington, Jr.'s version of a Bread song called "Aubrey". But "Step" avoids back-patting nostalgia and debunks bogus generational hierarchies while using the past to inspire the present. It's also melancholy, with Vampire Weekend musical mastermind Rostam Batmanglij surrounding Koenig's musings with lilting harpsichord ambience. Because, as we know, music is a young man's pursuit. "Wisdom's a gift but you'd trade it for youth," Koenig sings. Still, Vampire Weekend make a damn good case for wisdom all across Modern Vampires . Yes, this is a more grown-up album. It largely trades in the Africa-inspired giddiness of their first two records for a sound that's distinctly innate and closer to the ear. There's more air in these songs, more spontaneity, more dynamics. The overarching themes-- death and a dubious sense of faith-- are certainly Serious. But you never feel like you're being preached at while listening to this album. Koenig and company are probably more clever and gifted than you, sure-- but they're not rubbing your face in it or anything. Their message is one of collective understanding and betterment, and Modern Vampires is the kind of album that'll have you Googling for Buddhist temples and Old Testament allusions at 3 a.m. while listening to reggae great Ras Michael (who's sampled on opener "Obvious Bicycle"). Now, you don't have to get obsessed to enjoy this music, but it's presented with such care that you can't help but want to learn about its deeper meanings. So while Koenig gave up a potential teaching career to take his chances as a rock singer, he's still doling out knowledge in his own way. Though the record often traverses in darkness-- the zipped-tight "Finger Back" alludes to historic atrocities and brutality while "Hudson", easily the band's bleakest track to date, imagines an apocalyptic Manhattan-- there's also hope here. Partly because Vampire Weekend seem to have internalized all of the positive traits of their internet-soaked generation while resisting the ugly ones: they'll offer jokes and humanity on Twitter without navel-gazing; they'll play a concert for a credit-card company while roping in Steve Buscemi for promo videos that are no-shit funny; they'll use the tools of modernity to expand their universe rather than contract it. And then they'll go ahead and crack your heart in two. Along with the more lived-in sonics, Modern Vampires has the band taking a leap forward into emotional directness. Koenig and Batmanglij truly seem of one mind here, as the vocals and music interact with each other in an effortless flow. While skronks and snares pop on "Diane Young", the singer matches the live-fast intensity hit-for-hit. The song is a dissection of the 27 Club rock'n'roll myth, where Koenig's voice on the sly "baby, baby, baby" bridge is manipulated to intoxicating effect. Then there's "Hannah Hunt". In some sense, it seems like Vampire Weekend's entire career thus far has led to this one song. It begins with the hiss of wind and some vague background chatter-- the sounds of the everyday-- before it's all quickly tuned out in favor of Batmanglij's piano and bassist Chris Baio's upright plucks. Koenig comes in soft, telling of a couple on a cross-country road trip. His details-- crawling vines, mysterious men of faith, newspaper kindling-- are sparse, delicate, perfect. And then, after two minutes and 40 seconds of quiet beauty, the song blooms, and Koenig lets it absolutely rip: "If I can't trust you then damn it, Hannah/ There's no future/ There's no answer/ Though we live on the U.S. dollar/ You and me, we got our own sense of time." On an album preoccupied with the ominous ticking of clocks, this is the moment that stops them cold. Koenig has said in recent interviews that the band's three albums make up a trilogy. "Hannah Hunt" could be a sobering continuation of Contra 's Springsteen-ian "Run", where two people decide to up and leave their known lives in search of some sort of American transcendence. There's also a perilous chandelier at the center of new track "Everlasting Arms", perhaps a callback to the hanging lights that cover the band's debut LP. And the Modern Vampires font is the same exact one used in a trailer for Koenig's absurd-looking college-era werewolf movie, from which Vampire Weekend got its name. These little links are not only satisfying, but inevitable. After years of engaging with anything and everything in reach, Vampire Weekend are now a primary source in their own right.