It seems like every few years, an artist or a band takes a stab at producing a generation-defining progressive psychedelic album. You know what I am talking about here…a project where all of their past influences are laid bare, all of their creative ideas are reined in through a concept or grandiose inventiveness, all of their industry career advice goes out the window in favor of a more personal approach. Sgt Pepper was the first in a long line of these instant classic records that burst with enthusiastic otherworldly sounds, 360 degree musical scope, poetic license aplomb with intellectually lysergic visions, and out-of-the-ordinary intentions. It was a record made to be played from beginning to end, to be enjoyed with large listening ears. Many other artists followed in it’s footsteps over time, releasing left-field mind-blowing genre-busting albums like Song of Innocence, A Wizard A True Star, Close to the Edge, A Night at the Opera, Skylarking, Laughing Stock, Odelay, Moon Safari, The Soft Bulletin, Deserter’s Songs, Ok Computer. It’s like an artist’s musical right-of-passage to release something so over the top and so damn picturesque, that it becomes timeless upon it’s arrival!

Vampire Weekend has been on the verge of releasing such an album for their entire career. Contra and Father of the Bride hinted at this bombastic greatness but still cohesively sounded like song collections, not a bold artistic communique. This year’s Only God Was Above Us is that record. I’ve been sitting with it for the past two weeks, each listen a sonic pleasure to behold. It’s a masterful mélange of Art Rock, Afro Pop, Prog, Psychedelia, and Indie Pop. It borrows heavily from the musical past while harkening to a post-modern present. It is of our times yet is inspirationally grounded in the 80’s NYC photography of Steven Siegel, the lyrics a personal homage to growing up in the Big Apple. It goes many different places in it’s 10 song 47 minute aural journey. Progressive staccato bursts of melody, baroque voicings, gated reverbed Pianos, symphonic backing, chorused choirs, backwards instrumentation, 808 beats sitting nicely beside a Juju guitar line, heavily-panned stereo mixing, effected vocals, virtuosity! All made to be played as one whole piece, which I highly suggest to you. Why am I comparing to the seminal albums listed above? Because this is truly one of those classic Pop albums that will be seen as a touchstone of it’s time for decades to come, I do believe. Dig?