As I put together my top albums of this year, I missed Vampire Weekend’s 5th studio album completely. Not because it was bad, or unremarkable, or disappointing, but because it felt as if it never came out at all. Instead, it was as though Only God Was Above Us was unearthed, an ancient treasure excavated from deep below the earth that’s always been there—only hidden from view.
It’s hard to say anything new about this album—it’s utterly perfect. Bringing together sounds, instruments, and cues from the world over (as is Vampire Weekend’s MO), it’s an orchestral knit that covers the globe in its warm, impossibly complex glow. Each song feels as though it could shift on a dime, and they so often do. From the very first track “Ice Cream Piano”, we understand that Ezra Koenig and his merry band are more than happy to pivot and change without warning, upending your expectations and consistently delighting. It’s not every day I can call a piece of music masterful, but this album certainly fits the bill in my eyes. It’s an exceptional offering from one of the most respected bands of all time, fitting so neatly into the space above the mantle in Vampire Weekend’s unbelievable trophy room.
