Back in the Modern Vampires of the City era, Vampire Weekend played it coy about their plans—because let’s be honest, if you say you’re making an album, that’s all you’re going to be asked about for years. “We just wanted to make it exciting,” the band says, referencing their classified ad album announcement. At least this time, they made sure the album cover was cleared.
There was also talk about this being the end of a trilogy. Not that they planned it that way, but in hindsight, the first three albums felt connected. “We don’t know what’s going to happen next,” they admit, though this record’s experimental textures opened up endless possibilities.
As for their reputation as one of indie rock’s biggest success stories, they’ve had the rare luxury of a steady climb. “It’s not like a job where you know you’ll get a raise,” they say, acknowledging that music careers come with uncertainty—though they’re grateful they’ve never had the dreaded flop era.
Their songwriting, often subtly political, also invites misinterpretations—including within the band. “I thought the lyric was ‘You’re scared to face the raisin,’” Rostam laughs, explaining why they had to tweak certain lines in mixing. They also took their time refining tracks like Finger Back, ensuring every word felt right.
Now, three albums deep, the band finally gets to exist on their own terms—though they’re amused by how much early discourse focused on their aesthetic. “At this point, we’ve put out enough albums that we don’t have to keep answering for that.”
And as for the future? “There’s going to be a fourth album, but it’s like Indiana Jones and the Crystal Skull—except, hopefully, a lot better.”
Watch the full interview above and then check out the video below.
