by Noah Kossowsky
Photo by Michael Schmelling, Instagram @Michael_Schmelling
It’s been five years since NYC indie golden boys Vampire Weekend released their fourth album, Father of The Bride. FOTB deviated a bit in the sound and atmosphere fans and critics were used to and wound up being received with the most mixed reception of their careers so far. While it was mostly positive, part of me thinks Ezra Koenig and Co. missed the near-unanimous praise their original trilogy was lauded with when making their fifth record, Only God Was Above Us.
It’s remarkable how Vampire Weekend has managed to recapture the sound of their best work. They even find the time to make call backs to the classics (catch the “Mansard Roof” groove on “Connect”). They’ve always had one of the more unconventional and creative combinations of pop genres and elements from across music so I’m glad to see them return to and continue to expand upon it here. Cycling, busy drum grooves, winding guitar riffs and intricate layers of pianos and strings underscore pristine pop melodies in a display that shows the band’s understanding and mastery over their unique sound.
If I were to describe this record metaphorically, I’d say it’s like walking through an art museum. Each track is so perfectly arranged and placed behind a layer of bright reverb like a glass frame. Choices feel very deliberate and meticulously crafted. This extends to the lyrics as well, which range from observational and narratively-driven to vaguely philosophical, but always descriptive and vivid.
At this point in their careers, you aren’t going to hear Vampire Weekend making anything as simple as “Campus,” nor as frantically energetic as “Cousins.” Even on songs with flashier, fast-paced moments, the band takes the time to breathe and flesh out more intricate song structures. This isn’t necessarily a negative. I appreciate a chill listen, but in the case of Only God Was Above Us, it leaves the slower tracks feeling lethargic by comparison. This is especially true in the case of the lengthy and tedious closer “Hope,” as well as “The Surfer,” which you can find in the dictionary definition of the word schmaltzy.
This record is certainly a return to form for the Ivy League legends. The tracklist may have a slower pace, but this leaves the band time to flesh out each song with gorgeous arrangements and uncommon structures. It reflects a group of songwriters with the patience and willingness to continue mining into the mountain of their own creativity. On Only God Was Above Us, they’ve struck gold once again.
Favorite track: Classical