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When I post the album/movie of the month, I'm anticipating some people have listened through the album / watched the movie in advance, AND I ALSO know some people will see the post and go oh! I wanna do that! & they will take the cue to listen album over this week and comment in the coming days. The reflections and responses will probably also inspire some of you to go back and re-experience the album/film, and then you can come back and comment AGAIN or REPLy to ppl.

The point bein the album/movie of the month threads will be active over the course of the week that they are posted!

NOTE: YOU DO NOT HAVE TO WRITE AS MUCH AS ME. FOCUS ON WHAT YOU WANT TO FOCUS ON. QUALITY oVER QUANTity. I JUST HAVE SO mANY FEELINGS ABOUT ALBUMS.

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HUMBLE BEFORE GOD IN NEW YORK CITY

The voice of this album is incredibly existentially comforting to me. An patient voice letting me down gently, sympathizing with my desire to be, special and how far I am from being anything more than a human being.

The eclectic genre bending controlled chaos sounds like the streets of New York, drum kits sounding like a mix between hip hop soul sampling and street bands echoing down alleyways. A real anxious frenetic energy to this, as jubilant as it is I feel on the brink of panic with it sometimes. So much from so many directions, so relentless, so many lyrics announcing my inherent inadequacy. Ah!!!! If hip hop makes me feel like I can rule the world sometimes, this album makes me feel like nothing will ever change and I need to humble myself before the incomprehensible immensity of the city.

Coping with insignificance while living tantilizingly close to significance.

What's more New York than that? And what more religious?

To look up at God and realize you are not God, you're not in control, you will be at the whims of the fate and destiny and society like everyone else. Feeling that screaming mortal urge to judge the world and change it to your liking, and feeling the undying frustration that you can't truly change anything.

However it doesn't feel cynical. Not in the slightest. It feels like growing up. It feels like maturity, letting go of that Death Instinct and finding peace in this lifetime.

Makes me think of some of my friends. Makes me want to hold their hand and tell them to let it go. Give up. It's okay. We can just be human. You don't have to win. We can just live, no more or less special than anyone else. No expectations, no big war, no revolutionary contribution. Just human.

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Lots of text below, all 10 tracks. s'why i'm uploading late. had to cut it down, rethink my life etc.

I will be very happy to read your things this week + go back and relisten hearing what you heard.

x

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1. ICE CREAM PIANO

You're the soldier, I'm policeListen baby, we can't deny itYou don't want to win this war, 'cause you don't want the peace

Immediately establishing this dynamic between the narrator and the character that he is speaking to. The narrator, someone who has given up, who is softly at peace, wanting to share that peace with this friend who is still incredibly hung up on FIGHTING and WINNING

In dreams, I scream piano, I softly reach the high noteThe world don't recognize a singer who won't sing

Man........ you know when you try to scream or run in dreams and its all thick suffocated silenced slow motion? Sometimes making my dreams comes through feels like that.

Hopeless combat, one who is furious at the state of the world and takes this as reason not to engage with the world. I've met u......

This song is so triumphant, so much fanfare, but it also feels like it's almost falling apart, so anxiety inducing and exhausting and intense. When I listen in public my heart rate quickens, I feel a little out of control. Too much happy!!! Traces of eeeeEEEEEEEEEE

.................

2. CLASSICAL

Untrue, unkind and unnaturalHow the cruel, with time, becomes classical

put on your Bordieu and Veblen hats

.... this song really makes me think about the research I've been doing recently on fashion and status. Particularly the writing of Derek Guy, the menswear guy on Twitter.

He writes that for better or worse, when you are talking about the aesthetics of suits on men, you are talking about our desire to emulate high status powerful rich people of the past, particularly the british aristocracy and american industrialists of the 1800s and 1900s. That is a very deeply ingrained notion of "Tastefulness" and "Classyness" for better or worse.

And it's not all worse. There is some real beauty in there that it is good to honour and good to democratize, so more people can experience and express this classyness and tastefulness and status. And we can also push the envelope, push against the social suffocation and rigid status hierarchies, challenging norms and revising them. In doing so maybe we can deconstruct the most harmful aspects while saving the most beautiful.

I know that walls fall, shacks shakeBridges burn and bodies breakIt's clear something's gonna changeAnd when it does, which classical remains?

(i dont love the riff on this one, in the way I sometimes don't like Queen songs. Big loud "classical" major key harmonies. not my culture)

.................

3. CAPRICORN

The world looked differentWhen God was on your sideI know you're tired of tryin'Listen clearly, you don't have to try

One of my favourite sogns on the album. Total peak experience of that paternal voice empathizing with how small and inadequate I feel versus how badly I want to be important and significant. I can really feel the personality and pathology of the person he is soothing and mentoring in this. The anxious anger that other people aren't trying as hard, that you aren't getting your due, that you were born before or after your time.......

The noises in the 2nd chorus are just unbelievable.

Such unnerving and enthralling angelic metalic squeals. There is almost an uncanny element to them, as they can easily be percieved as either ugly noise or gorgeous sound. They sit uncomfortably and inscrutably in between beautiful and offensive, like an anxiety attack you’re not allowed to have, or an exuberance that feels on the brink of insanity.

Sounds like an immense incomprehensible machine falling over itself as it tramples over your city. Makes me think of this one robot in Nier Automata after it dies

This trampling on your death instinct, uncaring about puny mortal desire for revenge against God

.................

4. CONNECT*

i LOVE the two part chorus, the extremely hip hop / UK Dub bit:

I know once it's lost, it's never foundI need it now

... then the return to the rattling train track band playing.

The upright bassline at 3:09 fucked my whole face off

Then the massive frantic climax that follows! A wonderful example of a climax that doesn’t require a big bass drop to provide it intensity.

I love that in the last minute they run through a bunch of the established soundscapes without lyrics so you can just appreciate them.... delicious.

elegantly wasted..... such a painting.

Ezra Koenig's lyrics so effectively tap into the feeling of being fallen, yet wanting to return to paradise. Feeling forever and feeling that you are eternally banished from it. the yearning.....

.................

5. PREP-SCHOOL GANGSTERS

soft surf rock tune about class disparity?

It seems to me to be a lot about how upper middle-class people often deny that they are upper middle class, or discriminatory or elite, but quietly they enforce their little social hierarchy. Like I take this line to be a denial of elitism even when its apparent in aphorism:

It's just somethin' people sayThey don't really feel that way

Downplaying the significance of aphorisms, then in the second verse they actually threaten you with violence for suggesting that [the aphorism] might be offensive, or revealing:

It's just somethin' people sayYou could lose some teeth that way

How bout you quit causing a disturbance with your questiosn and insinuations buddy!?

I think the chorus is about upwards mobility? Like the narrator is a lower class person who is percieving this class disparity and is moving upwards through it, still a bit bitter and resentful, got Parasite driver stink on em, can see that these exclusionary pre-school punks also have some of the stink on em somewhere, are not as different as they liek to think they are...

Call me jealous, call me madNow I got the thing you hadSomewhere in your family treeThere was someone just like me

i dont like surf rock very much though. I like moody synthy things. lik enext track

.................

6. THE SURFER*

I love this song. Every second every noise. The drums as always, incredibly & innovatively recorded and mixed, always shifting, so many unique textures.1. So gentle and simple with the ghost piano at the front, then as soon as the chords enter I am totally transported. Feels like being by the water at sunrise or sunset, all alone, on a chilly day, in the Fall. This is how my consciousness feels when I am most myself, most alone. Melancholy.

The chorus chord progression has so much inevitable momentum, just drags me all the way down to the heart of the song, with that lovely warm Gmaj7 - Bm/F# - Fmaj7 - F7 into the Em9 verse. The chords and the texture of the guitars with the organ, it's all just so precious it doesn't need anything complex, it just shines simply as it is.

Then the incredibly simple string synth afterwards.... always a sucker for scattered plucky out-of-time guitars, like on For Emma Forever Ago.....

As for the lyrics, they puzzle me and I need more time with them, but

Back on the island, Water Tunnel 3A cage ascended, someone looks like meLook up at fingers reaching into spaceA Roman soldier's spearhead jammed above the waist

Is this about Jesus? Like Jesus Christ emerging from a cage at the bottom of a New York water supply, abandoned? Reaching up to the heavens, forgotten? Like this is a failure Jesus who didn't achieve divinity and reconciliation, leaving us all damned, stranding himself in the same eternall separated place as the rest of us?

Fake fortune teller scandalized by fateBroke bodybuilder crushed beneath the weightLost and deluded trying to find your placeInept long-distance runner losing every race

Trying to Be Something but never succeeding at Being that Thing. Impassable barrier between your self identity and actualization of that identity. Uncrossable chasm between incarnation and the infinite that intended to be incarnated.

The enduring mystery of the lyrics to me is part of the enchantment. Personal favourite on album.

.................

7. GEN-X COPS

I don't love the main gtr sound on this but I get it. Alarm siren slide guitar. I just think its the slide guitar its a little too much

The insane industrial sound at 2:05 followed by the harp is emblematic of this insane production.

Completely obsessed with the piano solo at 2:50 it is perfect perfect perfect. I think I want to learn it. I think I will. It's just so clean and calm and just right.

Each generation makes its own apology

Feels like a love letter to the insufficient out of touch older generation. Realizing your own ineptitude naturally leads you to forgive your parents.

.................

8. MARY BOONE

intense religious feeling once more induced by childrens choir.

Crazy hip hop-y scream sample at 1:04. Just wonderful sounding drums.

In those days, the burning daysThe one from Queens, not from Brooklyn

I love this reference to TIME, as if TIME is a different thing depending on what geographical physical location it occurs in, rather than a fixed linear progression without spacial context. “Those days” should apply to everywhere but he refuses that frame here. The days are particular to context not some immovable clock.

I don't knwo anything about Mary Boone or what these lyrics are referring to. Tbh. Someone else research this or tell me what it is if you know.

You're the author of everythingUse this voice and let it sing

Succulent couplet. Put it on a doormat or a forehead or a mirror or a gravestone.

Also feels SARCASTIC!!!

.................

9. PRAVDA

The image of this narrator leaving the person they have been consoling because he can't wait for them any longer makes my skin crawl a bit.

Your consciousness is not my problem'Cause when I come home, it won't be home to you

This makes me mourn some of the people in my life that I can't save, can't live life for. mmmmkfkmm not my fav song bc surf rock feel but makes me tearful thinking now.

Gets SO interesting sonically at 3:15 though until the sudden cut out soon after. Love the limitless feeling of the production. ANYTHING can happen at any time.

And I hope you know your brain's not bulletproof

Thanks for reminding me of my mortality <3 :)

.................

10. HOPE*

Maybe my favourite on the album. Incredible benediction. Perfect closer.

The finality and futility doesn’t at all feel like defeatism or a death of spirit. It’s just a reframing. A wider, gentler one, that accepts that things will not become completed while we’re here. It really speaks to the ego required to be mad at reality your whole life. You can’t let your inner peace and love exist only if reality earns them from you. You can’t make your morality dependent entirely on the outcome it’s meant to generate. Maybe all your Good acts will amount to nothing. Maybe even if you’re perfect they’ll defile your name anyways. Maybe you're not special and you only get what you get.

I hope you can find peace regardless.

The signatories broke the pactThe surfer sacked the quarterbackThe bag fell down onto the tracksI hope you let it go

This is such a silly thing to bring up but there’s this Game Grumps bit that it makes me think of, when Arin sarcastically perfectly illustrates a very maladapted spiritual/psychological self conception.

“Everything in the world is against me. So if you say something’s good that means I’m less good by comparison. There’s just less Good in the world for me to have."

.

sigh. I'm thinking of one person in particular. I hope you let it go.

..........

hbu?

Files

Only God Was Above Us (Album Trailer)

'ONLY GOD WAS ABOVE US' – APRIL 5, 2024 PRE-ORDER NOW: https://vampireweekend.lnk.to/OGWAU TRACK LIST 1. Ice Cream Piano 2. Classical 3. Capricorn 4. Connect 5. Prep-School Gangsters 6. The Surfer 7. Gen-X Cops 8. Mary Boone 9. Pravda 10. Hope - TWO NEW SONGS OUT FEBRUARY 16 – - "CAPRICORN" - "GEN-X COPS" Archival footage shot by Steven Siegel Band & orchestra footage shot by Tom Mull and James Messina

Comments

aubrey

NO BC YEAH

Sena Omoruyi

NO BC THIS JUST MADE MY NIGHT ARE YOU BEING FR RN

Kareem F

my main love is music so im oh so glad youre doing this ill listen & be back soon.

Chandler Sterling

I am a little bit intimidated by the immensity of this album which is fitting given the infinite, divine tones underlying everything. I remember the first time I listened to it I was expecting it to be a breeze to get through, but these 47 minutes absolutely tackled me to the ground and knocked the wind right out of me. The title is kickass, the cover art kept me mesmerized for the first listen through, and I could find very few choices that I didn't at least vibe with on a thematic level. I didn't like everything I heard, but I couldn't help but love the clear intent I felt was lying behind it all. No decision is too small to be scrutinized here. I love that every time I go searching for something new it's waiting there for me. It makes me feel like if I don't like a song, it's because I haven't listened hard enough, and that's not a level of trust I give to many artists. I do not have the bandwidth to give a song-by-song breakdown, but perhaps I will return one day to do so. For now, here are some things I picked up on that I vibe with: At around 2:24 in "Ice Cream Piano" the background vocals says, "The world don't recognize a singer who *can't* sing," instead of the main vocal's, "a singer who won't sing" which really resonates with the way I interpret that whole line. There's the obvious point that if you don't sing, you'll never be recognized for it, but the real reason people don't sing isn't because they didn't know that you have to sing to be a singer. It's the fear that you CAN'T sing. That you aren't a singer, not through a lack of effort and care, but through a lack of ability. It's a crushing thing to hide in a such a relatively quiet background line. I also like in "Ice Cream Piano" that they mention vampires. I've only heard a few Vampire Weekend songs outside of this album, but I'd like to think that every album references vampires at some point. In Capricorn, I enjoy that we lead off with the fact that the moon is out of our control. "Can't reach the moon now / Can't turn the tide" I'm not sure if this is intentionally related to horoscopes, but the idea that this solar body is outside of your power mixed with the repeating chorus that, "I know you're tired of trying / Listen clearly, you don't have to try" is a nice way of interpreting the zodiac. Maybe where these planets are when you were born have nothing to do with anything and maybe it does, but either way, they're a good reminder that things exist which you have no power over and it's best to accept that in whichever way you can. (Fun fact, I'm a Capricorn Moon, so that's probably why I even noticed the connection in the first place. Not sure what says more about me: the fact that I'm a Capricorn Moon or the fact that I know that at all, but do with that information what you will.) The album is like a sine wave of sound, constantly flitting between chaotic, loud highs and subdued, gentle lows. I really like when a song makes drastic changes in volume at the drop of a dime; it always serves as a nice punctuation between ideas. It happens a few times throughout, but my favorite moment where everything builds up just to wash away again is towards the end of "Gen-X Cops". We've already built to a swell in the chorus, and just as it seems like the song is about to end after a lovely little piano solo, we get an instrumental that can't seem to make up its mind jumping between a steady riff to a string section with an angelic choir to slow, stripped down chords and a slightly altered chorus to really drive the point home. I can practically hear the period at the end of this song. This album kept giving me the nagging feeling that it was asking people to give up on needing to fix capitalism in our lifetime, but I couldn't really describe why I felt that way until I got to Pravda (Правда in Cyrillic in case anyone cares. I have to put my 2 years spent learning Russian to use somehow, even if I've forgotten half of it by now). Firstly, I'm assuming it is intentionally referencing the Russian newspaper Pravda that helped kick off the Russian Revolution and then became the national paper of the Communist Party of the Soviet Union. I can't tell if I'm just over-analyzing it at this point, but the emphasis that Pravda is "just the Russian word for truth" seems like a rejection of that history. It's like a coded message between conspirators: "They always ask me about Pravda" feels like a prompt to follow up with the answer that we can start our own revolution maybe not specifically to end capitalism but certainly a revolt. But Pravda isn't about that, it's just the Russian word for truth. What I realized by the end is that I wanted to absolutely adore this album, but I feel like it found me at a bad time. "Hope" has a message I completely agree with, that at the end of it all you have to accept that you will eventually have to let everything go. Even if you somehow managed to win all your battles, everything you are is still lost to time, and that can be a peaceful realization. That being said, I think there's a fine line between accepting the inevitable and fighting despite it all. Both sides have their own idea of hope, and both can lead to unhelpful ways of approaching problems. Recently, I've been in a fighting mood, and as much as I intellectually agree with the messages contained within these sonic walls, I emotionally can't quite align with it. Being told, "I hope you let it go" over and over again might have been therapeutic at another time, but right now I'm feeling much more spurred on by Lithonia's "Nobody gives a f*ck". Similar ideas at the end of the day, but one is the mantra of someone who is ready to accept the intellectual realization, and the other is defiant even as it recognizes defeat. I will be coming back to this album again when I have cooled down to hopefully find the peace I know will come with letting go, but I think the fight always continues because we feel we have to earn the right to the peace. You can't let go until you try to grab on. Take life by the horns and all that good stuff.

zooey

When I saw the notification I thought your new album came out and I can't say I felt betrayed in the slightest, I will leave more details (edit: ed) thoughts on the album later on but I just wanna say thank you for bringing this to my attention, his feels like it's coming to life at exactly the right time it was meant to. I could never express my amount of appreciation! 👍

azalea water

I've been trying to find a way to write about albums. And after reading the main post, I realised that I can, in fact, word the weird whisps that albums make me feel. New skill unlocked! ------------------------ The thing that strikes me about this album is how the lyrics and instrumentals seem to be living in separate worlds. Take *Ice Cream Piano*. lyrically, it’s a song about an unresolved fight between two people, with these great lines about conflict: “You don't want to win this war 'Cause you don't want the peace Armistice, we never tried it You're the soldier, I'm police” And then you’ve got the instrumental: this disjointed set of a piano, a barely strummed acoustic and amp feedback whining in the background. That is until the second verse, where everything explodes into a cyclone of distortion with an arpeggiated piano desperately trying to keep its shit together. That’s the vibe for most of the album. It’s Belle and Sebastian on molly; the musical embodiment of cope. The lyrics are painting this world of nihilism and pain, while the accompaniment swings between jaunty folk and the dune soundtrack. *Classical* is another great example, with a mainline that sounds like the opening of a 80s sitcom. Meanwhile, the lyrics are about history dissolving around you in an endless cycle of death and rebirth. The juxtaposition in going from “I know that walls fall, shacks shake // Bridges burn and bodies break” to this bright, major riff is unbelievably funny. It’s like they pilled existential dread. The star of this album (sonically, at least) is that fucking guitar tone. You know the one: distorted to hell and back, sounds like the devil waxing his legs. It’s everywhere, from *Capricorn*’s message of an uncertain future, to *Gen X Cops*, which might be the most interesting track for me. It takes the main algorithm for the album (hopeless lyrics + pop instrumental = crisis), and flips in on its head. For once, there’s some hope in these lyrics: “You taught me how I see // Each generation makes its own apology” There’s some condolence there, an empathy for the struggle of those who came before and how to relate it to your own struggle. While simultaneously, the instrumental decides to go batshit with this dissonant harp and blaring guitar – not to mention the sludge of synths on “Are you cursed or depart again?”. It’s a subtle change, but one that helps the album keep from being a monotonous pile of dommerisms. And then there’s *Hope*, where the album gives up on cope and accepts the end of the world: “The bull has gored the matador The U.S. Army won the war The meaning died in metaphor I hope you let it go” I know relating this to philosophy might be erring on the bad side of “Against Interpretation”, but with a song about accepting the evil of the world, I couldn’t not bring up this line from the Tao Te Ching: “So, the sage acts by doing nothing, Teaches without speaking,” (Tao Te Ching, Chapter 2) That’s *Hope*. It’s the same essence in the serenity prayer, the first noble truth, and a million other religious stories. And it’s one hell of a way to end off an album that stares into nihilism and hopelessness, and comes out with the message of “Accept the things you can’t change. They’re beyond you."

Lou Corben

I really enjoyed this album! I didn't know Vampire Weekend were still going and like Chandler I only knew a couple of their earlier songs, so thanks for bringing this to my attention. I sort of think there's 2 kinds of people - lyrics first people and music first people, and I'm a music first person, so lyrics can take quite a lot of listens to hit home for me. I'm also not very good at analysing music, and sort of would like to keep it that way. I have other art forms that I'm good at analysing, and while I think that can bring you closer to the work, I think it's healthy to let some artforms just be what they are and just impact you emotionally, so I'm happy to leave music this way for now at least. So, just a few wee comparative observations from me - This album felt extremely nostalgic to me - I was at university during the indie era of music, and I became aware of VW just as that was dying out, and while I liked what I heard well enough, they felt to me like a bit of a relic after the long long period of guitar music we'd just been through. Now after a long long period of hip hop and pop, this album feels refreshing again, and I can better appreciate their mix of genres and styles. Pravda - I think they're doing some Chekhov references here. "I've waited through the wars of winter / I've watched the cherry blossoms bloom / I cannot wait here any longer" - possibly a reference to The Cherry Orchard, "Your uncle Henry lived in Moscow / Your aunt Ludmilla lived there too / Irina grew up in Wisconsin" - possible references to Uncle Vanya and Three Sisters, "And I hope you know your brain's not bulletproof" - referencing The Seagull. Chekhov plays are all about yearning, desire to leave, waiting, lack of action despite ambition, and the inevitability of nothing ever really changing, themes which seem very present on this album. You can often say about Chekhov plays that by the end "nothing has changed but everything has changed". Hope - lyrically if not musically reminds me of a 'Bringing It All Back Home'-era Bob Dylan song in the way it sort of lists these archetypical images linking back to a theme, with the strong rhymes at the end of each short line with the last word of each breaking the rhyming scheme and linking back to a through-line. "The phoenix burned, but did not rise / Now half the body's paralyzed / There's no one left to criticize / I hope you let it go." - Hope vs "While some on principles baptized / To strict party platform ties / Social clubs in drag disguise / Outsiders they can freely criticize / Tell nothing except who to idolize / And then say God bless him" - It's Alright Ma. That one specifically obviously came to mind because it also rhymes lol. Desolation Row is less strict in its rhyming scheme but is also quite a similar vibe.

D.S Films

I find this to be such a fun album, with some melancholic undertones. It feels like little restraint is used on this album, meaning each instrument is doing what it wants to, which I respect deeply. I think I like this approach because it gives each song the feeling that any sound could contact my ear at any time, giving it an exciting, unpredictable feeling. At the same time, the tunes are extremely catchy, and are clearly ones that will grow with you over time, and I already feel deeply connected to some of the songs, specifically 'Classical' and 'Mary Boone'. As I type this I happen to be listening to the ethereal strings on Mary Boone, just after I have satiated my curiosity by giving her a quick google. Adding to that chaotic New York feeling, subsumed by insignificance on the edge of significance, she was an Art collector and dealer, with galleries in the area. She was living the high life of sharing the exciting, new art scene of neo-expressionism, and was building in popularity. However, in 2018 she was found to be 'filing false income tax returns' and was sent to prison until 2020. Not sure how significant all this is but it definitely adds to this chaotic feeling on the edge of greatness.

Just Connor

nothing to add, on first 2 tracks CAPRICORN the second time the chorus played had me putting it on full volume, and hurting my ears. worth it. CONNECT the piano part after the second "Hopelessly down" makes me feel like im descending into chaos and then the climax hits, very good. nothing on Prep-School Gangsters THE SURFER love the transition from the first minute of like almost creepy and unsettling notes into the pure chill and melancholy of the lyrics and chords. that is all i have to say for now, i definitely wanted to listen more, but forgot soo. i perhaps will return to recontribute. it also feels like i am very unqualified to talk about music most of the time, i just dont feel like i know enough about the medium and its many many parts to fully articulate what i enjoy.

Caleb Bednarski

Vampire Weekend was never part of a genre that typically appealed to me, so it’s a cool experience to sit down and listen to branches of music that I would never seek out myself. I want to give some flowers to vampire weekend and the people who produce the album for how they play with space when they put the music to tape. Music I hear sometimes has a tendency to fall on a 2D plane like a number line, following the right and left headphone channels. When listening to Only God Was Above Us, I was blown away how vampire weekend was able to almost push that 2D plane back in space, creating a 3D environment. It was as if I was in a long room with high ceilings and the band was sprinkled in various parts of the room as they played. Orchestral instruments are used throughout the album, but the way the music was composed in the mix felt like the way you would hear an orchestra at a band shell with each instrument holding a distinct space it projects from. I wouldn’t be surprised if someone on their team had direct experience playing in, recording, or composing for an orchestra, it feels very intentional. In Capricorn, the bass feels immediately to my right while the drummer feels to be playing in the back of the room with the piano player. The Surfer manages to have the percussion directly in front of me while the piano player feels as though they are playing just over my left shoulder behind me. Connect shrinks the room to a small jazz club so it can embrace the running upright bass and skittering highs of the piano in a way that feels close up and intimate. I’m a person who needs to work hard to hear and process lyrics, so I’ll need to return to that aspect of the album with more listens. It does make me wonder if the lyrics follow any of the musical motifs they create. We’ll see!

SkateLouis

I listened this album after the first week of the semester began. It was the bus ride back home, after a hard week of work and college. I didn't understand a single word of what they were singing lmao But it was honestly such a pleasent experience! It felt like simlish songs, and I appreciated greatly the instrumentation and the overall feeling. It tingled my brain in the semiconscious tired and sleepdeprived state that it was, it calmed me down, felt like hypnotism I didn't like any specific song, didn't favorite them, but I'm glad I experienced it.

Silver

i will post here once i know the album better and can say more than just complain about too simple harmonic structures in some songs that miss out on the emotional nuance that complex harmonies can provide

Avly

I'm so glad you brought up this album! I felt a bit alone in my excitement of it. It's probably my favourite album right now. I love how it manages to paint a whole world, it feels so cinematical. It sounds like a pretty dystopian world, but very close to now. Screeching subways still running but falling apart. Some have found peace with it anyway, like the narrator, turning the screeching into music. Others haven't. Something something Zeitgeist. Capricorn I heard the song before the album came out, and with "I know you're tired of trying, listen clearly, you don't have to try" it was speaking to ME. I listened to it on repeat. Bare with me for a sec. I moved to Germany (from Sweden) almost two years ago, and you know how some people say that, to learn a language, "you just gotta, you know, dare to stick with it and not switch back to english, and be fine with making mistakes just laugh it of and have fun, and hey if you live there you'll be surrounded by it so just submerge yourself and it will come all by itself and you'll get better and ...". So i tried that. I tried and I tried to stick with it. But it's like trying to cook with one hand tied, it's terribly frustrating. Sure my German has gotten better for it, but the more I tried, the more miserable I was. And it's not just German for me, it's also socializing in general. I so desperately want to get better at connecting with people, but I'm far from a social butterfly. If anything, I'm the fly on the wall. I still try to take opportunities to "get better" at it, but I'm just not getting fluent. (everything being in German now doesn't help, but it's been a struggle for me before too). Hearing the line from Capricorn was cathartic. I know you're tired of trying. Listen clearly, you don't have to try. Connect+The surfer The songs are siblings to me. I haven't looked so closely at the lyrics, but the surfer makes me think of vaporwave, the music of the dead shopping mall, which also fits to the close-to-now dystopia of the album. The surfer is floating around oh so aimlessly in what I see as some digital space. He doesn't really care much or connect much to anything, though. But he's relaxed. Maybe the surfer could be the "you" in Connect, having more or less left the "I" back in the physical world. Connect is then about the struggle to form connections or feel connected to others, maybe especially in this "connected" digital world. "Now is it strange I can't connect? It isn't strange, but I could check" as if you're checking a wifi connection or something. The song seems to be about having lost connection with a close one, but maybe you just need to restart the router? Maybe that will fix the relationship? Ah that's great. I also just dig both songs a lot musically, they're fantastic.

phil e the theyby

OK so I feel like I don’t know anything about music compared to most people here (I haven’t studied music theory formally or informally, I just know how to play really basic shit on piano and guitar). But I’ve listened to this album several times and really enjoyed it, so I’ll share my general uneducated reactions: ICE CREAM PIANO: I really love this song, musically and lyrically. My take on the narrator was a bit different than CJ’s: the line “you’re the solider, I’m police,” along with the driving energy of the song, made me feel that the narrator has learned to step back from the fight in a certain way (he’s no longer a “soldier”), but still invests himself in trying to control how others respond to it (thus being “police”). I was curious about the naming decision of the song. It made me think that the version of the narrator of the beginning of writing the song was more attached to the emotional weight (would maybe title it “I Scream Piano,”) whereas the version we hear in “Hope” may be a bit more able to let go of some of the seriousness and intensity he feels in this song. CLASSICAL: I love the words to this song; the tension of a world that needs to change, seeing the problems and oppression inherent in it, but wondering about what will be held onto, is really poignant to me. “In times of war, the educated class knew what to do In times of peace, their pupils couldn’t meet your baby blues” I feel this line really captures the dehumanization of class division, and gave me this sense of how the working class are exploited in times of war and conflict. This song doesn’t really do it for me musically, though, and I don’t know enough about music and my specific tastes to say why. It’s grown on me as I listen to it more, but still doesn’t stand out the way other songs do. CAPRICORN: not a lot to say about this one. I love what the distortion does for the chorus, and the breakdown at 2:15ish is a good time. CONNECT: I feel like this is the opposite of Classical; I love everything about how this song sounds, but I have NO idea what it’s talking about. Made me think of Fiber Optic Nights from Life in Code, though! MARY BOONE: This feels like it’s about a relationship where both of them started out poor and got into a better situation economically, but it pushed them further apart rather than bringing them closer. It feels like he/she/they? are reminiscing about when they weren’t as well-off (“in those days, my working days”; “deep inside the city, your memory remains”). The lines in the chorus sound to me like they’re physically together, but that she doesn’t actually see or connect with him. It kind of sounds like she’s depressed in this new, higher station in life, and he can feel it but can’t really get through to help her. Love the genre-blending in this song. It’s a stand-out for me. I have fewer thoughts on the rest of the album, except that from CJ’s description, I apparently like surf rock (I don’t know what that is, tho), because I’m definitely a fan of Prep-School Gangsters. And Hope is a fantastic closer. “I did the things you asked me to, I testified what wasn’t true, but now I’ve lost my faith in you. I hope you let it go” was a standout line to me. It sounds like the narrator followed the listener’s way of living and approaching the world and became disillusioned. But at this point in the album, he’s been able to get some distance and just stand back and say, “I hope you let it go.” Anyway, this album was a great time; I’ve really enjoyed it, and will definitely keep listening to it past this month. Rhombus/10

silentcrystaltears

musically this album is soo my shit wow. for me personally? that slide hits exactly right. and i need to learn the bassline to connect....production choices like the vocal glitch on the line "Irina grew up in Wisconsin" make me go 'huh' but simultaneously feel perfect? lyrically the album feels like a calm, patient, caring attack on me personally? and it's not, like, wrong.. so i will keep singing along and thinking hard abt it i think! i hope i let it go too, man.

Silver

[I put this off for a long time, mostly bc im a musician and felt like i had to have something really unique worthwhile to add, but to not add anything feels like i failed in a different way so here we go.] firstly, this production is incredible. sonically delicious. messy and dirty but beautiful on the other hand this album stays in that vibe so rigidely, that many (not all) of the songs feel same-ish to me sometimes. I at least have big diffculties remembering what the individual songs sound like and have to go back and listen to remember, only to forget again immediatly afterwards. This is also due to me being an absolute music-first-person, so lyrics dont really work as means of differentiation for me, at least it isnt common for me. Following from that i will only go into the lyrics in the very rare case that i have a thought that wasnt already articulated better by someone else Ice Cream Piano: great opener all around, perfect encapsulation of that sound i talked about (but because of that hard to remember for me bc it doesnt stand out as much), the central lyrical themes cj and others have talked about, which ill get into in the end (mostly critically, close to chandler sterlings essay i have to admit) i have nothing on the harmonies. they are quite simple but fit the energetic vibe perfectly so i dont mind classical: oh boy this guitar riff. i get the funny-factor but everytime i hear it i cringe. Like i also get the irnoy/existential dread perspective but idk it doesnt hit like that to me, its just too on-the-nose, outlining the very basic chord-tones of the already very simple chords, losing the single interesting harmonic thing (the maj7 and #11 in the F chord) of that progression. As a harmony-obsessed jazz-musician i know the emotional nuance harmony can suggest, mirroring the complex and though-provoking lyrics and therefore yearn all the missed rich oportunities, robbing music of the emotional power it could have. this album has this problem at a couple of places, i dont think ill point it out everytime. anyways save for that guitar-riff i like the song. the sax solo is great which is coincidentally also the part that drives down on the most interesting parts of the harmonic world this song taps into so im happy xD (cj reminds this riff of queen which i can understand but still i'd say queen uses simple major-heavy harmonies much better than here and also there is a LOT of interesting stuff going on in queens music so i dont quite get what cj doesnt like about queen) Capricorn: Nothing to add. the second chorus is a banger, production is on point there and i have no idea how i'd recreate this effect. production really isnt my strong suite lmao Connect: double-bass go brrr. I love this one. had to get used to the prechorus but now im a fan. Prep-school gangsters: meh. has the harmony problem again, at least in the verse which again gest exacerbated by the guitar riff that just feels wrong, especially bc it really just doesnt fit to the lyrics whatsoever in my opinion. Not even in the ironic/existential dread-kind-of way, at least not for me. The surfer: omg omg omg yes seems like cj and i have similar tastes in instrumentals (music school illness probably) also the drum part is very wonky lofi hiphop coded which i love. my fav from the album great example of ambivalent harmony creating a very interesting unique vibe fitting the subject matter although who knows whats that about lmao 'Fake fortune teller scandalized by fate Broke bodybuilder crushed beneath the weight Lost and deluded trying to find your place Inept long-distance runner losing every race' dont know why but i am insanely intrigued by this verse Gen-X Cops: am not as bothered by the guitar tone or the riff as cj, probably of the unusual harmony it outlines (help why is my brain like this). i am gen z so my interest goes towards how a gen z version of this song would be, especially bc i cant really imagine my generation being 30+ at some point. scary scary. Also the piano-solo, cj go for it and transcribe it, i think its mostly if not exclusively pentatonics and very cute i like it. [i have nothing of note on the musical side of mary boone and pravda (aside from: yay a minor subdominant)] Hope: i feel like the conclusion to this album deserved more than a diatonic chord progression but it does the job fairly well so im just gonna shut up especially bc the instrumental part around 4 minutes is delectable now to my main gribe with the overall message of the album as spelled out mainly in hope, ice cream piano and maybe pravda. For me at this point in time (especially bc of the immediate political implications) 'letting go', seeing that 'the enemy is invincible', that ''pravda' is just the russian word for truth', they are the opposite of hope to me. Prime defeatism of someone growing up and getting tired. 'If you're not a Socialist by the time you're twenty you have no heart, but if you're still a communist by the time you're forty you have no brain' (quote without clear origin) thats the idea - fighting for a better world as a stupid youth thing you have to grow out of and accept the status quo. the worst kind of stoicism right there. i hate it xD Chandler's reflections really resonated with me here. Intellectually i get it of course. I really do. But no, for now i really can't let go. This is also probably because my opinions about the world havent really cemented themselves yet and without them i would have nothing. I am glad that cj and others can find peace they needed here but for me it hits a wall. Maybe this wall falls at some point but not now.

Jay Oshiki

Capricorn was my fave track off this album!! There are a lot of ways this sounds so similar to the 2014-indie-core stuff they made back in ze day, but this release really feels like they’re going less-indie-more-freak-shit and I LOVE THAT. This album feels like it’s both too big to contain itself and also so small and understated to the point of insignificance (hmm wonder if that feeling reflects any lyrical themes HMMM) Like musically/volume-control I loooove how goes from gentle meandering to LOUD ORCHESTRAL DEMAND TO BE NOTICED! Bc I’m having artist/grad school woes, I read this big/small, god/ant oscillation as the fear that comes with making art. Both in the obvious ego way (everything I make is genius! I’m never gonna die!//im actually an embarrassment to society and need to burn everything I’ve ever made) but also just the way we see art in general. It’s easy to feel like humans have been around for so long, surely there’s not much art left to make (there are only six real stories in existence, etc). That feeling of despair over artistic beauty being finite, with the OVERWHELMING REALIZATION THAT IT IS LITERALLY INFINITE, and how that is so big that it’s kinda scary, actually! Main feelings listening to this: fear! And also oooh ahhh hmmm

Jay Oshiki

“the feeling of being fallen, yet wanting to return to paradise. Feeling forever and feeling that you are eternally banished from it. the yearning.....” cj if u can hear me pls listen to the musical Children of Eden (unless ur not into musical theatre, then pretend this comment doesn’t exist actually)

Meep biscuit

Well i wrote a good chunk of a review and then got like halfway through and accidentally hit enter and then thought i copied and pasted it back here and then deleted it but i didnt copy paste i actually held down fn and c instead of control c. Whatever. Guess I'll let it go.

yennik arual

used to be biiiig on these guys in like 2018 so when they came back for Father of the Bride i was positively hyped. i thought it was kinda bloated and unfocused so Only God Was Above Us was an improvement for me. i haven't been into guitary timbres for a while either so it was nice for this to resonate (at least on the second listen). some cute brass in there too. trumpets are truly the most kronk instrument for cont. genres. love them. copypasted from my musicboard log of this album

Meep biscuit

Okay so I've been fucking obsessing over this album still, and it's like what the fuck do I do with this. I guess im obsessed with this feeling of being tiny and confused because I'm going through a spot in my life where I broke up with my girlfriend, and im trying to go against my anxiety and my ocd more, and it's weird! It's weird to let things go! So many songs on this album make me feel like the world is like this kind of amorphous thing swirling around a bass line, and it's like wow fuck remember when you guys made like cute indie rock about idk being preppy and in college and it's like ooo it's world music we sprinkle in some afrobeat stuff and spanish guitar and it's like you can either embrace that culture it's representing or think it's annoying or whatever. I think modern vampires was heading in this direction and I LOVE some songs from that album like Step, but this feels like wuhiughaiuhfdagh wha??? It's so fucking weird because I don't feel like this is a different band or anything, but they just built their sound into this massive sprawling city and dropped a black hole right in the middle of it and im watching its history and remembering and forgetting it over and over. It's the fucking implosion of culture but in a glorious and experiential way. Sometimes I think the world im living in is a massive spiral of endless stimulation since I'm autistic and anxious and obsessive compulsive and i have adhd so im constantly in fucking overstimulation mode. Sometimes the only way i can respond is to let go, but sometimes I need a hand to hold onto. I just let go of the hand I was clinging to to get me through it, and ten more came to grab me. I hope I let them go when the time comes, too.

zooey

i wanted to write as much as you, i couldnt