The latest release from the indie-folk lamenting sound of Big Thief offers sumptuous servings of stirring music.
Released: 5th September 2025
Label: 4AD
Format: CD / Vinyl / Cassette / Digital
A RAW SOUND
The often raw sound of indie-folk continues to evolve through introspective story telling and, in a similar vein to their previous releases, Big Thief are ready to add further richness to this on their fifth studio album – largely recorded at The Power Station in New York.
Adrienne Lecker’s writing takes on further exploration of the themes of love, lust, loss and longing. Once again, the band team up with Dom Monk. There is a reassurance in the manner and structure in the songs and storytelling, yet with the exploration the band know is key to their evolution.
This is an album that evolves the evocative sound of Bright Eyes and Phoebe Bridgers; fans of these and Wolf Alice, will appreciate the tone, style and intricate production of Double Infinity.
A STIRRING STATEMENT
The latest release from the indie-folk lamenting sound of Big Thief opens and closes with equally impressive songs which serve to deliver sumptuous servings of Americana.
Incomprehensible is a statement track and the lead single. Lyrically, it’s the most whimsical of the selection of songs. Arguably, it’s the track in which Adrienne Lecker’s vocals are have the most freedom of the melancholy best. The narrative balance between the two songs, alongside the more recognisable sound of Big Thief’s previous works, allow the listener to open and close on familiar ground, but without the belief that it is more of the same.
How Could I Have Known highlights some of the richest percussion on the album and a stirring string sample that closes out the album in a most satisfying manner. On both tracks, the balance of the singing stands out above the rest of the musicianship which allows the lyrics to resonate alongside some excellent production from Dom Monk.
LEVELS OF CONSCIOUSNESS
The moody introspection of Words highlights an intricate musicianship between layers of guitars that sit beautifully alongside some delightful percussion and lyrics. The lyrics sit delicately on the edge of the listener’s ability to pick them out; that is by design and is an artful and clever undertone to the meaning of the song.
As Adrienne Lecker muses over multiple levels of consciousness, the entire song poses delicately some of the most careful and subtle lyrics in Big Thief’s catalogue (‘Words are feathered and light; Words won’t make it right). These themes of consciousness, time and the curiosity of intricate observations within the awe of the world around us echo further in the title track Double Infinity. The title-track is a woodland walk through the best, most romantic part of any season. Each description is a brush stroke of a world rich in colour and tangible experience. There’s some delicate and sumptuous percussion playing on the track which
ALL NIGHT, ALL DAY
The subtly raunchy All Night. All Day begs for a late night cap induce flirtation. The art of the craft in this song comes through the play with themes of lust and perhaps those nights that should land more often than not, yet with the folk-overture of a band that will explore themes in a manner they know keeps them true to their musical exploration. The band’s love letter to the great American city of Los Angeles is nuanced with some of the insecurity of love and themes of some discontent alongside the life-affirming need for love. Such ideas are simply explored in the lyrically-sparse yet instrumentally-rich Happy With You.
These tracks are more wistful than remorseful but there is a sense that the band have matured into songs such as this in a way that they are no longer afraid to open up through the songs they carefully create. The production of both tracks creates space in which the band fill with melancholy befitting the themes.
EXPLORATION AND COLLABORATION
Big Thief, with the recognisable, effortless vocals of Adrienne Lecker, could quietly sit in their wheelhouse of woodsy folk and not need to venture too far from it in order to garner acclaim. Yet, with each album, they do break from the mould a little more than the last. In No Fear and Grandmother, the band play with song structures and themes. Both tracks standout for their track length yet very different in delivery. The repeated patterns of No Fear are purposefully monotonous with the clear decision made to create a lamenting poem of existential crisis (‘There is nowhere / no table no chair / no country’). This track is a mantra anchored by the fitting bassline from Joshua Crumbly.
Further sonic exploration continue in Grandmother. It is the creation of the band writing as one unit for the first time and it is a tremendous collaboration of artists for whom themes of loss and yearning have never seemed too distant. In this case, using some of the struggles any of us may face to pivot oneself into creatives looking for the outlet. It’s the most expansive sounding and sonically explorative track they’ve created to date.
This latest offering from Big Thief is a tremendous addition to their catalogue and possesses the ability to enchant those open to it and lead them on a stroll through some expansive lands. There is a growing list of talented musicians who seamlessly contribute to the rustic sound of Big Thief’s previous works. The album delivers on each track in a manner that is both humble yet unapologetic.
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