Claude says:Modern Vampires of the City hit in 2013 as Vampire Weekend's most baroque and baroque-pop-adjacent moment—all string arrangements and chambers and genuine melancholy under the prep-school gloss—and you've been returning to it steadily since that May scrobble, leaning hardest on the kinetic rush of Diane Young but letting Hannah Hunt and Unbelievers work their slower angles too. It's the kind of record that rewards repeated visits across years because the arrangements keep revealing themselves.