Among the wave of ambitious bands that emerged from New York in the early 2000s, Vampire Weekend stands out for their consistent relevance and ability to evolve with each new release. Rather than resting on their laurels or attempting to replicate past success, they’ve maintained a sense of innovation while staying true to the eclectic soundscapes that define their music.
While not universally loved due to perceived pretentiousness, Vampire Weekend’s longevity speaks to their indifference to criticism. Their bright, jangly pop rhythms, Ezra Koenig’s introspective vocals, and a blend of accessible hits with more complex songwriting have contributed to their enduring appeal.
Their latest album, “Only God Was Above Us,” marks their first full-band effort in almost a decade. Departing from the more commercial sound of their previous album, it explores a different sonic landscape, characterised by distortion, hip-hop influences, and urgent drum patterns. Despite this departure, it still retains elements of their earlier work, such as the anxious tone of “Modern Vampires Of The City” and the joyful essence of “Father Of The Bride.”
Inspired by 20th-century New York, the album exudes warmth and nostalgia for a bygone era of endless possibility. Koenig’s introspective lyrics reflect on aging and generational change, juxtaposed against a backdrop of vibrant musical experimentation.
While the album is musically rich and diverse, lyrically it delves into themes of pessimism and acceptance. Tracks like “Mary Boone” and “Capricorn” showcase Vampire Weekend’s maximalist approach to sound, blending disparate elements into cohesive compositions.
Overall, “Only God Was Above Us” offers a blend of melancholy and optimism, reflecting the band’s acceptance of the present moment. It’s a departure from their earlier, more buoyant sound, but it’s a reflection of their evolution as artists and individuals.
