Bursting onto the scene in 2008 with their self-titled debut, Vampire Weekend have gone from rising stars in college circles to grizzled veterans of the indie rock scene. As a result, it’s no small feat that their latest record, “Only God Was Above Us,” manages to match their earlier material’s creativity and energy – and this time around, the production sounds better than ever.
The album’s opener, “Ice Cream Piano,” is meant to grab the listener’s attention. It’s the closest thing to an old-school Vampire Weekend rocker on the album, with some eclectic instrumentation that still feels a little punk rock. There are some harsh lyrics and a nice build at the beginning, and the rest of the track is the band at their best – sounding like music school kids with ska energy.
Vampire Weekend have always been aware of the dichotomy in their music – they’re Ivy League graduates making socially conscious rock music, often adding hints of various genres such as Afropop.
As a result, the track “Prep-School Gangsters” seems titled almost self-referentially, but instead it’s likely a nod to a 1998 New York Magazine article that coined the term. The song itself is one of the most laid back on the album with some gorgeous guitar flourishes, but lyrically it’s a commentary on privilege and the dangers of phrases defended as “just something people say.”
Tracks like “Capricorn” and “Gen-X Cops” add brash, noisy bursts to the album’s soundscape that perfectly contrast the soft instrumentation and immediately catchy hooks. “The Surfer” and “Mary Boone” have hints of 90s boom bap hip-hop in their rhythm while the latter adds a choir to complete an absolutely stunning atmosphere.
“Classical” is the gem of the album. It begins with an acoustic guitar with some creative processing before transitioning into the muted scream of an electric guitar as Chris Tomson’s drums kick in. Then – still in the first 10 seconds – a cheery string section enters while bassist Chris Baio trades his electric for an upright. Frontman Ezra Koenig reels off some of the best lyrics on the project in his distinctive tenor (“How the cruel, with time, becomes classical”). There’s also a stunning saxophone solo that steals the middle of the track.
Two songs later, “Connect” continues the musical madness with multiple vignettes, jazzy upright bass, and Koenig’s ear-catching piano playing. Vampire Weekend treats the piano differently than most modern bands – instead of a backdrop for ballads, it’s among the liveliest members of the group, with more solos than the electric guitar and innovative background melodies. Add in some ridiculous synths in the chorus as well as a high-pitched backing vocal that comes out of nowhere, and it’s an energetic, unpredictable journey of a song.
“Only God Was Above Us” is constantly full of surprises, new sounds, and introductions to different influences, but the quality songwriting and musicianship, thought-provoking lyrics, and consistently beautiful string sections transform it into a cohesive listening experience that’s among the strongest of the year. Vampire Weekend entered 2024 with a legacy that was already well-established, but over a decade into their careers, they are still capable innovators. “Only God Was Above Us” might be their best work up to this point.
Album: Only God Was Above Us
Artist: Vampire Weekend
Producer: Ariel Rechtshaid
Overall Rating: ★★★★★
