Only God Was Above Us

Like the tangled mess of the New York subway map, the history of rock is full of unpredictable twists and strange connections. When Vampire Weekend jumped on board with their self-titled debut in 2008 (followed by *Contra* and *Modern Vampires of the City* a few years later), the indie old guard was instantly suspicious. Who were these Columbia University kids, suddenly riding a wave of hype that felt just a bit too big to be real? What’s with all these chirpy major chords? And that breezy voice—doesn’t it sound a little *too* much like Paul Simon? Wait a second… is this *ska for preppies* I’m hearing??? Yes, the band deserves credit for bringing Afrobeat guitar riffs, dusting off classic Brill Building-style pop, and even sprinkling some subtle hip-hop touches—ingredients that would go on to influence a ton of acts afterwards. But the damage was done. To many, they were nothing more than rich kids turning indie rock into a Cosmopolitan fashion accessory. Things only got worse when Rostam Batmanglij left and the band put out *Father of the Bride*, a patchy, bloated record that felt more like an Ezra Koenig solo project than a real band effort. After three notable albums, the hype bubble had eventually popped, and so the Vampire Weekend train seemed to have left the station for good. Which is why *Only God Was Above Us* felt like such a huge surprise last year. From the opening seconds, Koenig’s sly, understated voice made it clear we were in for a wild ride, against all odds: “Fuck the world / You said it quietly / No one could hear you / No one but me…” The distortion may be dialed down in the overture of first track "Ice Cream Piano", but when it hits, it hits hard. And what follows is a mad, joyful sprint that recalls the band’s earlier energy, but with a new trick: an avalanche of finely-tuned details that push their sound somewhere totally new. Jagged bursts of noise, Broadway-worthy string swirls, melancholy piano lines, whiplash tempo shifts… Vampire Weekend had rediscovered their live-wire spark, but now with a more ambitious, “grown-up” edge—thanks in no small part to Ariel Rechstaid’s lush production and a crew of handpicked session players. It all *feels* like it could fall apart, but somehow it never does. That’s especially clear in the next trio of C-gems —"Classical", "Capricorn", and "Connect"—which lay out the three main paths this album explores. Take "Classical": it’s got a lurching, heavy rhythm, guitars that squeal and charm in equal measure, a wild free-jazz sax, and a meaty upright bass. The old Paul Simon comparisons resurface here (helped along by sunny refrains and a 12-string folk guitar), but this is Paul Simon on speed and amphetamine, hurtling into unexplored urban skylines. And you can also gaze upon those shaky skylines in the tense, post-punk shadings of "Gen-X Cops" (a rare minor-keyed song in the band's discography), or in "Mary Boone", which mashes up a massive Soul II Soul breakbeat with choirs that sound like they fell straight out of heaven. Then comes "Capricorn", which slows things way down. Its distorted, foggy textures call back to Animal Collective, with a gentle drum groove and ghostly strings that feel like memories dissolving into mist. It’s a bittersweet ballad about aging gracefully—or not—and it kicks off a run of slower songs that showcase Koenig’s songwriting chops, from "Prep-School Gangsters" to the majestic closer "Hope". But among those three C-titled cuts sowing seeds throughout the rest of the record, the centerpiece is most certainly "Connect", and the only fitting word to describe the latter is: *incredible*. Incredible like its fast-paced piano arpeggios that sound part Bach, part Thelonious Monk, complete with tiny flubs caught on tape. Incredible like Koenig’s vocal, reaching for memories that could belong to the 1930s or the 2000s. Incredible like the whole structure—playful, unpredictable, never pompous—bringing to mind *Congratulations*-era MGMT. And that’s before you factor in the freewheeling drums, dreamy choirs, mischievous synth stabs, and the cheeky final double-bass note that closes the track with a wink. Follow this crazy rollercoaster to the end and you’ll be laughing in disbelief. There’s really nothing else in Vampire Weekend's catalog—or in rock history—that quite matches "Connect". And yet that spirit of restless invention carries through the whole record: sudden drum fills, abrupt swerves, warm textures one moment, strange surprises the next. Just listen to the last-minute brass that erupts in "Prep-School Gangsters", or the way an Afro-rock guitar riff gets swallowed by eerie synth washes in "Pravda". And then there’s "Hope". Eight stunning minutes, built on a deceptively simple piano line and Koenig’s aching, majestic vocal. The song slowly builds, tension rising until it finally explodes in a storm of horns and strings. It’s the album closer, and as such, it is obviously a farewell—maybe to a lover, maybe to New York itself, whose sounds and spirit haunt every corner of this record. Either way, it’s devastatingly beautiful. Forget the hype, past or present. With *Only God Was Above Us*, Vampire Weekend have finally delivered the density and all-encompassing emotional weight that had always seemed just out of their reach. “Each generation makes its own apology,” Koenig reminds us on "Gen-X Cops". Apology accepted, Ezra. Let us humbly offer ours as well. This text is a translation of the review I have written last year for the French music website Mowno. https://www.mowno.com/disques/vampire-weekend-only-god-was-above-us/ We now have an English version gathering some of the pieces written in the original French version of the website, by the way. https://www.mowno.com/en/ --- Number of albums from the original list I find relevant enough to be mandatory listens: 465 Albums from the original list I *might* include in mine later on: 288 Albums from the original list I won't include in mine: 336 ----- Number of albums from the users list I find relevant enough to be mandatory listens: 48 Albums from the users list I *might* select for mine later on: 62 Albums from the users list I won't select for mine: 114 (including this one) --- Hey, Émile. J'ai enfin trouvé le temps de répondre ! Regarde sous la review de *Young, Loud And Snotty* des Dead Boys !

In my review for the other Vampire Weekend album, I said I'd rather submit this one over Contra. At the time this album wasn't submitted and someone listened. This is my favourite Vampire Weekend album and got me into the band. Not much to say beyond I love it and it completely works for me. My personal rating: 5/5 My rating relative to the list: 5/5 Should this have been included on the original list? Yes. Pick this over the other one.

Good, easy listening. Nice story telling

Nice to know these boys are still out there making music, I guess. Not sure it hits as much as their older stuff.

Vampire Weekend is a neat idea on paper but is always just indie rock that plays and I listen in execution

I think Vampire Weekend is pretty good, but they get a little cutesy for me. This album is no exception. 3 stars.

Interesting listen and I kind of liked the stringed instruments… Not sure this is a total hit with me but I can see why someone might nominate it.

Another vampire weekend album, I love the band and this is a good album,I listened to it a lot last year but into as much this year, but I’m still picking vampires in the city or their debut over this one. So just the 3 stars from me for this specific album.

Paljon erilaisuutta tässä

Uhh didn't even see they released a new album. Damn, it's as uneventful as the others. 2 Oh wait, gen x cops Na, false alarm