Vampire Weekend – ‘Only God Was Above Us’ album review: a classical instant classic
THE SKINNY: Vampire Weekend, despite always being an indie band at heart, have been bold in pushing themselves creatively to produce exciting sounds throughout their career and go beyond what could just be classed as indie music. This expansion of their sound usually comes in the form of using different effects or off-kilter time signatures, but on their newest album, Only God Was Above Us, they do it by putting classical music at the heart of every single song.
This album is the best the band have ever made. Each song has windchime-like trickling guitar and keys at its heart, with even the most minimalistic tracks building like symphonies. It’s this style of music as it’s never been done before. Unpredictable in its structure and execution but completely charming throughout.
For lifelong fans of the band, you will be happy to know that though the style Vampire Weekend goes for on Only God Was Above Us is a bit different to what you may be used to, they still keep their feet firmly planted on the ground. Songs like ‘Capricorn’ and ‘Prep-School Gangsters’ have a nostalgic twang that invokes the feel of sodden festival grass on well-worn trainers in a way that is new enough to continue to engage listeners throughout.
Like the theme that runs through this LP, the new album is a sure-fire classic. Though it can be hard to hold on to a melody at times, and as tracks unfold in a way you might not expect, this record is beautiful from beginning to end. We may well be entering a brand new era of Vampire Weekend. Keeping in touch with their name, they have proven themselves to have a somewhat eternal attitude towards creativity.
For fans of: Blaring out indie innovation while nailing a risotto.
A concluding comment from Warren Buffett: “This is some of the finest placating music that the Bohemian Grove group have ever proudly produced.”
Only God Was Above Us track by track
Release Date: April 5th | Producer: Ariel Rechtshaid | Label: Columbia
‘Ice Cream Piano’: The album opens with a ballad. The first minute is a slow, hands-in-the-air moment while you can imagine drinks getting spilt and ale-stained vocals permeating the atmosphere of whatever venue this is played at. The rest of the track is upbeat, with vocals chiming through beautifully, speeding up more and more and more, strings and percussion, synth sounds, electric guitar and all things in between. It’s the perfect way to get your ears pricked and blood pumping. [5/5]
‘Classical’: The instrumentation on this record is exciting; dare we say, the audience could be divided, but the side listening and writing this review today is filled with lovers. There is a hip-hop-style breakbeat, but the synth over the top is more, as the title suggests, classical sounding. It has an air of Adam and the Ants to it if he was still making music. There are elements of free jazz throughout the song, too, which shouldn’t work but do, as Vampire Weekend display a complete unwaveringness to reel in their creativity. [4/5]
‘Capricorn’: A common theme throughout Only God Was Above Us is Vampire Weekend’s ability to hone in on their unique style while presenting the listener with something that also sounds brand new. While this can be heard throughout the album, ‘Capricorn’ is probably the best example, as we are given a window into the past that is free to stick your head through while continuing to keep your feet firmly planted in the present. [5/5]
‘Connect’: Trickling keys welcome in this tune, which, when added to with bass and drums, is the perfect starting point for a gorgeous song. As with a lot of this album, the track follows no set structure, but that only adds to how alluring it is. Harmonies are made up of high-pitched – to the point of squealing – backing vocals, as we are continuously peppered with keys, drums, synth and classical music. Its unpredictability only adds to its charm, and this piece is hard not to play on repeat. [5/5]
‘Prep-School Gangsters’: One of the most ‘00s indie-style tracks on the album. Vampire Weekend deliver a bit of nostalgia, but by using a classical-style instrumental to break up verse and chorus, the song sounds like it has found itself on the album where it belongs the most and isn’t a lazy regurgitation of the past. [5/5]
‘The Surfer’: The introduction to this piece is fairly off-kilter, with sounds DJ Screw could be proud of. However, it is also welcome and only further highlights how much the band refuse to conform to a particular style throughout this album. As the track progresses, we are blessed with a tranquil ballad, light as a feather in its execution but layered in detail. [4.5/5]
‘Gen-X Cops’: After such a slow number, it’s only right that the band kick things off again with the raucous and energy-filled banger that is ‘Gen-X Cops’. A catchy guitar riff plays throughout the track, begging for a mosh pit while still sounding sweet. [4/5]
‘Mary Boone’: Arguably the most beautiful piece on the album. To have what is predominantly a slow and minimalist track while still having the instrumentation altered frequently and using so many different elements is a risky move that could make for a difficult listen. However, it actually contributes towards a song that is as revelatory as epiphanies are. [5/5]
‘Pravada’: Classical guitar runs are given a tropical theme in the opening to this track, which is equal parts peaceful and funky. The abstract lyrics that Vampire Weekend have been fronting throughout the album take centre stage over a very stripped-back verse, but they hold their own against bass hits and the occasional snare. The track builds around this structure, gently adding to it until we are left with something symphonic. [4.5/5]
‘Hope’: The closing song on this album brings together the majority of the elements that have made up the whole LP; a good beat, complicated keys, and excellent vocals see the listener out of what has been an experimental, genre-bending and incredibly fun record. This one has truly been hard to fault as every moment provides something new, yet the album holds its shape throughout these various aspects of style and sound. Despite the words “I hope you let it go,” this album will stay with you after listening to it. [5/5]
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