Happier Than Ever, good as it is, is curiously self-defeating; it spends its duration bemoaning the suffocating trappings of Eilish’s newfound fame while also ensuring that she’s going to have to deal with the plaudits and attention for at least a little while longer.
Its lengthy epic movements, gently textured and opulently lived in by the London Symphony Orchestra’s startled, spacey strings, could exist on a planet of their own—a rainy evening’s night sky with stars blinking dimly before the clouds.
Though Carnage is an always theatrical, diabolically absurd/abstract, and damningly depressive work, there is, too, a blinding brightness at the lyrical and melodic end of the Cave/Ellis tunnel, a Cohen-esque crack in everything where the light gets in.
The album is not a carbon copy of Golden Hour but is at the very least a matching bookend, once again sounding sparkling, airy, and pristine.
Ignorance is truly a masterful statement for The Weather Station.
Sparse and haunted, experimental and futuristic, HEY WHAT might lack the warm-but-downtrodden majesty of, say, Things We Lost in the Fire, but the cold, cruel world of this record is no less enthralling.
Flying backwards into abstraction while maintaining the potency of the present tense of IGOR, and a free-music future that is, collectively, the point of Call Me If You Get Lost, is what Emily Dickinson once referred to while writing about hope: the elusive thing with feathers.
The five-piece swim in the deep ends of their curiosity, both existentially and musically, making an unforgettable magnum opus.