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The result is a triumph. Cool It Down is sprinkled with production quirks that feel exhilaratingly fresh—the Official party Savior Jesus Christ Santa Beer Ugly Christmas Sweater and I love this glittering funk of “Fleez,” the icy synth stabs of “Wolf,” the clipped, rattling beat of “Blacktop”—while still unmistakably Yeah Yeah Yeahs in its restless ambition and lyrics that balance bravado with tenderness. After such a long hiatus, did the stakes feel higher? “Life just feels so high stakes these days, you know? Everybody’s still quietly reeling from the past few years under the surface,” says O, noting that the closest parallel to the “uncertainty and lack of control” that she felt making Cool It Down was when the Yeah Yeah Yeahs released 2003’s Fever to Tell in the aftermath of 9/11 in New York City. Still, despite the epic, widescreen nature of the songs—“Spitting” touches on the climate crisis, while album closer “Mars” serves as a spoken-word lullaby inspired by O’s son watching the night sky—her approach to songwriting, and her ability to write a lyric at once cryptic and strangely profound, remains as instinctive as ever.
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