When discussing indie bands of the 2000s, several big names often pop up. Many are quick to throw out Arcade Fire, MGMT, The Strokes and eventually the name Vampire Weekend as well. While maybe not viewed in the same way that Gorillaz or The National are revered in the musical zeitgeist today, they had an undeniable presence in the scene.
Forming in the mid-2000s as undergrads at Columbia University, Vampire Weekend quickly gained buzz. Led by guitarist and vocalist Ezra Koenig, the band put out several singles throughout 2007, leading to decent popularity despite not being signed to a major label. Following a European tour opening for The Shins, the group released their self-titled debut in January 2008 to massive success in the indie rock world. Spin Magazine declared Vampire Weekend the “Year’s Best New Band,” and the quartet performed on “Saturday Night Live” and the “Late Show with David Letterman” in support of their new record.
Vampire Weekend became known for its unique inspirations and flavors folded into its alternative sound. Koenig and drummer Chris Tomson originally bonded over their shared love of Afrobeat and world music, which was made apparent in the band’s debut work and subsequent efforts. While simultaneously being held as one of the best rock acts of the late 2000s, many were quick to dismiss the band as stuck-up preppy kids from an Ivy League university, detracting from the image of the indie scene.
The group released their fifth studio album, “Only God Was Above Us” on Friday, April 5, through Columbia Records. It features a mix of influences from trip-hop to jazz. These influences come together to create a cohesive baroque pop record that begins and ends with mundanity. The more grandiose and lush pieces on this album, like the piano-laden power ballad “Capricorn,” have a lot of soul and intricate layers put into them. However, there was nothing on this record that hadn’t been explored by Vampire Weekend before, or other bands from the same time.
The production on this album is grand, and at times larger than life, thanks to its echoey production and heavy use of church choirs and string ensembles. The hip-hop drumbeats added to the overall vibe of the record, however, they could become obtrusive at times — especially when one tries to really focus on the intricacy of instrumentation throughout the album. “God Was Only Above Us” comes in at 47 minutes and feels way shorter than that. The best way I can describe this album is that it sounds like what you would expect a new Vampire Weekend album to sound like and doesn’t break many barriers beyond that. It’s definitely good, but nothing mind-blowing.
For fans of Vampire Weekend, this album is something you’ll enjoy. For fans of other bands, you might get more enjoyment listening to the new MGMT album, or just sticking to the classics and staying away from what the 2000s indie artists are up to in their early 40s.
At times, this record felt like a crossover of the soulful baroque pop sound from The Decemberists mixed with melancholy reminiscent of an electronic tune written by Radiohead’s Thom Yorke. Koenig’s lyrics delve into themes of isolation and loneliness, and his voice sounds just as full as it did on their first record. Despite multi-instrumentalist Rostam Batmanglij departing some years ago, the band has carried on in much of the same way, holding the same spirit throughout their music.
3.5/5