Label: Columbia Records
By George Ward
On their fifth album, ‘Only God Was Above Us,’ Vampire Weekend craft a project both familiar and somehow fresher than anything they’ve made in years.
The first thing that will strike you when listening to ‘OGWAU‘ is just how good the production sounds. With Ezra Koenig himself and Ariel Rechtshaid handling the bulk of it, the sound they have crafted is nostalgic, warm and fuzzy. The resulting album sounds like a dusty old box found in an attic that, when opened, unleashes a colourful wash of warmth over you.
Opener ‘Ice Cream Piano’ is just about the strongest return to form you could ask for as a Vampire Weekend fan. It features their signature galloping drums and cascading strings with a fuzzier, rawer aesthetic. As Koenig sings “the world don’t recognise a singer who don’t sing,” he sounds better than ever.
‘Classical’ absolutely lives up to its name, becoming an instant Vampire Weekend classic. From the typically catchy main riff to the lovably pretentious lyrics, this is up there with their many hits already. On theme with the rest of the album, the sonic contrasts are so satisfying, with glistening piano clashing with a gorgeously warm saxophone solo.
‘Capricorn’ continues the streak with its deceptively simple structure and incredibly unique production. Every time the chorus hits, we are hit with a wave of sound and, even after listening countless times, I can’t work out just how they create such a powerful effect. Koenig proves himself still to be a master of melodies and choruses, with his vocals reminding you of older tracks like ‘Step’.
‘Connect’ is the biggest surprise of the record and the biggest rollercoaster too. Wonky jazzy piano opens the track before the familiar beat of ‘Mansard Roof’ is briefly teased. The choice to reference the first track from their debut album is surely deliberate, a nod to older fans and a reminder that no matter how much their sound has evolved, that special energy is still present. Don’t be deceived though – this track is far more complex.
The way the track unfolds is thrilling and each section is completely unexpected. The drums, as always, sound exceptional while double bass underlies the verses. The piano section in the middle is gorgeous and playful before Vampire Weekend throw everything in our face at once in an overwhelming climax.
‘Prep School Gangsters’ and ‘The Surfer’ provide a much needed break from the chaos, with subtle jazzy songwriting and even production from ex-member Rostam on the latter.
‘Mary Boone’ is another highlight with Vampire Weekend playing to their strengths: romantic and nostalgic. As the Moby-esque drums hit us for the first time, we are washed with a summery glow in one of the lushest moments of the album. As the twinkly pianos, vocal harmonies and drums come together, the effect is so special.
‘Hope’ is a satisfying and patient rounding up of the album, with an 8-minute runtime, some of Koenig’s strongest songwriting, and another gorgeous arrangement. As it all unfolds, let it swallow you up.
While ‘Father Of The Bride’ had some great moments, this is the album that I really wanted after ‘Modern Vampires Of The City’. With its poetic lyrics, beautiful production and unpredictable arrangements, ‘Only God Was Above Us’ is a seriously exciting new step for Vampire Weekend to take. But don’t worry, they’re still the same band you grew up with.
Listen to ‘Only God Was Above Us’ here: