Vampire Weekend has always held a special place in my heart. Occasionally criticized for their hipster leanings and privileged upbringing, they’ve never shied away from their middle-class roots (they formed at Columbia University, for goodness’ sake!). To me, it’s incredibly satisfying to see the band thriving a full 16 years since their fantastic debut.
Their latest album, ‘Only God Was Above Us’, proves why they remain vital in today’s music scene. The album showcases a band at their creative peak, balancing nostalgia with bold innovation.
Ezra Koenig sets the tone from the start with the defiant opening line, “Fuck the world,” on “Ice Cream Piano.” This assertive statement sets the stage for the album’s thematic depth. Across half an hour of musical brilliance, Vampire Weekend explores intricate themes with their polished soundscapes honed over two decades.
While I personally enjoyed 2019’s ‘Father of the Bride‘, it did feel a little bloated at times. This time they’ve trimmed the excess, delivering a concise set of ten tracks that echo the energetic charm of their debut. The lyrics remain sharp and evocative, augmented by orchestral flourishes that effortlessly showcase the band’s blend of nostalgia and experimentation.
The album also embraces a far more cinematic scope. “Capricorn” and “The Surfer,” produced by beloved former member Rostam Batmanglij, embody this expansive quality. “Mary Boone” stands out with its prominent Soul II Soul sample (yes, you read that right!) and choral elements, while “Connect” takes listeners on a journey with bar-room piano trills, warped bass, cello, and collage-like digi-cuts.
Vampire Weekend’s discography has often flirted with greatness, but ‘Only God Was Above Us’ could potentially be the band’s zenith. The album merges the infectious indie-pop charm of their early work with the mature, complex artistry hinted at in Modern Vampires of the City and fully explored in ‘Father of the Bride’. This isn’t just a collection of songs but a cohesive, inspired statement that fully realizes their potential.
The transformation is evident from the opening notes of the aforementioned “Ice Cream Piano,” which glides along a reverb-drenched runway before exploding into crescendos of galloping drums, searing guitar riffs, furious piano stabs, and dancing strings. Influences from jazz, R&B, and classical music seamlessly blend into the album’s fabric.
Tracks like “Gen-X Cops” explore the intersection of age and history, delving into existential themes with poetic precision. “Classical” questions which societal structures will endure through inevitable change, while “Pravda” offers a dreamy, hazy exploration of truth and consciousness. Each song is meticulously crafted, offering both intellectual depth and emotional resonance.
Only God Was Above Us doesn’t shy away from Vampire Weekend’s trademark sound, yet this isn’t a band resting on their laurels. The album showcases their evolution and experimentation, blending genres and pushing their sound into new territories. Listening to the album feels like reconnecting with an old friend, each track evoking memories while revealing new discoveries.
The album’s closer, “Hope,” the band’s longest track to date, perfectly encapsulates their journey. It’s a sprawling, eight-minute epic that builds and builds, reflecting on society’s challenges while ultimately embracing the idea of letting go. This track, like the rest of the album, underscores Vampire Weekend’s newfound maturity as they morph into indie rock’s elder statesmen.
With ‘Only God Was Above Us, Vampire Weekend’ has created a masterpiece that solidifies their legacy as one of the most innovative and essential bands of our time. It’s an album that demands repeated listens, revealing new layers and nuances with each play. Sixteen years on, Vampire Weekend isn’t just going strong – they’re better than ever. Haters be damned!
TRACKS:
