Yeah Yeah Yeahs only make music when they have something to say. Nearly a decade separated Cool It Down and Mosquito, during which time Karen O made two solo albums including 2019's Lux Prima. She and Brian Chase and Nick Zinner were so established in their individual work (Chase remained a fixture on the experimental jazz scene; Zinner toured with, recorded, and produced artists ranging from the Rentals to Amen Dunes to Phoebe Bridgers) that a reunion seemed uncertain. Luckily for fans, they did get back together, and ...
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Yeah Yeah Yeahs only make music when they have something to say. Nearly a decade separated Cool It Down and Mosquito, during which time Karen O made two solo albums including 2019's Lux Prima. She and Brian Chase and Nick Zinner were so established in their individual work (Chase remained a fixture on the experimental jazz scene; Zinner toured with, recorded, and produced artists ranging from the Rentals to Amen Dunes to Phoebe Bridgers) that a reunion seemed uncertain. Luckily for fans, they did get back together, and their fifth album once again switches gears from the one before it. Cool It Down owes less to Mosquito's rock revivalism than it does to Lux Prima's lush sonics and, maybe more importantly, its viewpoint. The light touch and generosity of spirit within O's songwriting made itself known as early as Fever to Tell's "Maps," but she refined it with her solo work and reintroduces it to the band with transporting results, balancing the experience of age and the wonder of youth in songs that teeter between reflection and elation. The band bookends Cool It Down with songs about children's perspectives. O has always written tenderly about and for children, and "Spitting Off the Edge of the World," a radiant yet heartbroken meditation on the ecologically broken world left to the next generation featuring Perfume Genius, and "Mars," inspired by a sweetly imaginative moment with her son, are no exception. By contrast, the gorgeous, big-hearted pop of "Different Today" possesses the wisdom to acknowledge the past, accept the present, and look forward to the future even as the world "goes spinnin' out of control." Over the years, O has also become a more accomplished and varied vocalist, and she brings more colors to her Cool It Down performances than on Yeah Yeah Yeahs' previous albums or even Lux Prima. "Burning" is a driving showcase for all her skills; as the song builds into a soulful inferno, her wails and whispers are forces of nature, and her comparisons to meteors and the river Styx are completely apt. "Fleez," the record's brightly funky midpoint, pairs spoken-word verses that hark back to the early gem "Art Star" with a groove that's tautly danceable even if the band doesn't break a sweat. Songs such as this and "Wolf," a piece of shimmering electro-pop seduction where squiggly synths echo O's vibrato, borrow some of It's Blitz!'s chrome-plated sleekness and commanding beats and showcase Dave Sitek's production. Sitek often felt like Yeah Yeah Yeahs' unofficial fourth member, and his chemistry with them remains strong on tracks like the lushly layered "Blacktop." For a band who seemed so impulsive at the outset, Yeah Yeah Yeahs' reflection and deliberation has been a surprising strength that's only grown with time. They may never lose all their restlessness -- nor should they -- but it's undeniable that Cool It Down is one of their most consistent albums. ~ Heather Phares, Rovi
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![Fever to Tell [UK Bonus Track]](https://www2.alibris-static.com/fever-to-tell-uk-bonus-track/cover/f91498ra4ma.jpg)
