Review | Big Thief – Double Infinity

Label: 4AD

By George Ward

On ‘Double Infinity,’ Big Thief deliver a warm, focused and loving hug of a record. If you’ve heard any of the band’s albums up to this point, it should be no surprise that they have once again shaken up their sound, living up to their reputation as a constantly-evolving, yet always familiar force of nature.

Helmed by Adrianne Lenker, fresh off her gorgeous and intimate 2-hour live album ‘Live At Revolution Hall,’ this is our first time hearing Big Thief as a trio, following the departure of bassist Max Olearchik last year. Joining bandmates Buck Meek and James Krivchenia are a whole roster of New York musicians – 11 in total across the record; 12 including the perfectly matched producer Dom Monks.

Compared to 2022’s double album ‘Dragon New Warm Mountain I Believe In You,’ this one is more subdued, slowly wrapping round you over its 43 minute runtime. There’s a lovely looseness to ‘Double Infinity,’ perfectly encapsulated by Krivchenia’s wonderfully loose drum style. On ‘All Night All Day,’ they shuffle effortlessly, bringing so much character and lightness to the sound.

Songwriting-wise, Lenker’s simplistic approach here is refreshing. Much like on her last solo studio album ‘Bright Future,’ she often ditches more complex poetics for more honest, emotionally resonant and repetitive sentiments. “I’m happy with you, happy with you, happy with you, why do I need to explain myself?” she chants over and over; much like she says, sometimes there really is no need at all for explanation, the feeling is enough.

Deceptively simple, ‘Happy With You’ is hypnotic in its repetition, simultaneously reassuring the recipient of the lyrics and forcing the listener to doubt their sincerity.

Though simplified, Lenker’s songwriting feels more mature, more sure of itself, even if it lacks some of the complexities of previous projects. Many of these tracks, including closer ‘How Could I Have Known’, sound instantly timeless, like dusty and half-remembered folk songs. Lenker’s voice is deep and confident, fully grown into the folk legend she has become. Jangly, romantic and warm, this track instantly goes down as one of Big Thief’s classics.

Instrumentally, the album is wonderfully textured, muddy but not abrasive. You can really feel the number of talented musicians at play here, though the sound is never overcrowded. On ‘Words,’ the guitars burst into a frenzy, buzzily interweaving with the wild bassline, swimming around each other unpredictably.

On ‘No Fear,’ a slow bassline patiently sets the pace as instrumental friends gradually appear, washing you in a warm but foreboding glow. Bells tinkle, guitars twang, background vocals echo, haunting the track almost imperceptibly. As the track comes to a close, it folds in on itself, rewinding and imploding at its climax.

On ‘Grandmother,’ we see the first time Big Thief have officially featured a guest artist, with the voice of Laaraji. Yet another exciting new texture, Laaraji’s voice wordlessly dances beneath the track, whooping, humming, longingly wailing; as vital to the album’s personality as any of the core trio’s instruments. Instead of a tacked-on verse, Laaraji’s feature is a beautiful way to bring new voices into the fold, never taking the spotlight away from the band but instead making his presence known in his own unique way.

‘Double Infinity‘ is a unique album of contradictions. Its songwriting is simple but not immediate; its instrumentation is loose but deliberate. The tracks stick around after the album is over, tempting you to rewind and listen back, noticing a romantic lyric or satisfying guitar pattern that you might have missed. While the band may refuse to stay comfortable for too long, you can be sure that, as a listener, you’ll be warmly welcomed into the world of ‘Double Infinity’.