Tonight We Dance

White does pretty much everything except what fans have learned to expect from him. It’s an ambitious, dizzying, and sometimes challenging listen, but overall makes for one of the most maniacally creative albums of the year.

It’s the sound of a band bolstering their already formidable palette. Free from the shackles of Reznor’s self-imposed trilogy of releases, the masters of melancholy sound rejuvenated, and ready for another 30-plus years as kings of the musical underworld.

There’s an artful use of simplicity here to the extent that these songs don’t sound simple at all- they are massive, moving, and multifaceted- but never are they bland. Rather, instead of punching note after note down our ears, Screaming Females make every pluck, every single thwap, single second, do something to advance the album. When every single element counts, the whole thing feels that much more important.

It shows a refreshed band, back on the chase to find new ways of songwriting, with strong melodies and intriguing lyrics remaining a constant. “I’ll Be Your Girl” is the start of this new chapter, and it’s a wonderful place for them to begin again.

Ultimately, Thank You for Today finds the Death Cab for Cutie of 2018 taking stock of their band, choosing to forge ahead by using the foundation of their back catalogue to harness their core identity and build upon it. The band’s shared vision is clear, encapsulated in this collection of songs.

Bridgers, Baker and Dacus pack a novel’s worth of narrative and as many masterful melodies (not to mention harmonies) into just 21 minutes that will leave you feeling as if you’ve had the wind knocked right out of you.

Recording in his Glasgow hometown helps provide a vibrant, unhurried enthusiasm that’s contagious. Each track is enhanced with guests periodically contributing horns, woodwinds, strings, and even French horns and glockenspiels.

This is a slick, confident, emotionally mature and balanced album, crammed with zingers, from a band who know their territory like the back of their hands.

It’s full of incessantly catchy guitar riffs; a keen, driving rhythm section; and the unparalleled witty lyrics with which Barnett made her name. But it also bursts with more contradictions and a wider variety of personal intimacies than ever before.

Overall, the record is recognisably Fallon’s; he takes his best ingredients of trademark likeability and searing emotional insight and transfers it while changing things up musically. It’s inspiring to see a musician like him take strides and experiment, not necessarily taking the safe route.