Somewhere in the misty forests of upstate New York, Big Thief has been quietly shape-shifting. Not with the dramatic flair of a headline-grabbing reinvention, but with the subtle grace of leaves changing color in autumn.
The Grammy-nominated indie darlings have emerged from their chrysalis as a trio, following bassist Max Oleartchik’s departure. But calling this merely a lineup change would be like describing a butterfly’s metamorphosis as just growing wings. The transformation runs deeper — right to the marrow of their creative DNA.
Their latest album “Double Infinity” captures this evolution with startling clarity. The record feels like stumbling upon a secret clearing in those same upstate forests where the band retreated to reinvent themselves. Nine carefully chosen tracks (culled from over a hundred possibilities) create a sonic landscape that’s both familiar and thrillingly new.
Adrianne Lenker, the band’s enigmatic frontwoman, has always been something of a musical nomad. These days she drifts between the Northeast, Minnesota, and Texas like some modern-day folk troubadour — though she’ll tell you, with characteristic mysticism, that “the forests” are her true home. In early 2025, that rootless existence seems particularly fitting for an artist whose work increasingly explores themes of transformation and rebirth.
“Let me be incomprehensible,” Lenker sings on the aptly titled new track “Incomprehensible” — a line that might make seasoned music journalists chuckle. When has Big Thief ever made things easy for their listeners? But there’s something different this time — a rawness that cuts through their usual ethereal haze.
The remaining members have found their own anchors amidst the change. Buck Meek settled into Topanga Canyon’s creative community, while James Krivchenia holds down the fort in Brooklyn. Their geographical dispersion somehow adds to the album’s expansive feel, as if the music itself is stretching across the continent.
“It was kind of like a breakup,” Krivchenia admits about Oleartchik’s departure, his words carrying the weight of unspoken history. The band’s careful dance around the specifics — they cite only “interpersonal reasons” — speaks volumes about their integrity. Some stories, after all, belong to the shadows between the notes.
Perhaps most intriguing is the evolved dynamic between Lenker and Meek. Their history — former spouses, now “deep friends” following Lenker’s coming out — adds fascinating layers to their artistic partnership. “We dream our dreams together/Even without laying in the same bed,” Lenker sings in “Los Angeles,” a line that captures their transformed relationship with devastating simplicity.
The band’s reinvention required what Lenker describes as “spring cleaning” — reaching into “all the dusty corners” of their friendships. It’s the kind of metaphor that might sound precious coming from another artist, but Lenker has earned the right to such poetic license.
“Double Infinity” proves that sometimes becoming smaller creates space for something bigger. The trio’s decision to work with additional collaborators reflects this paradox — they’ve opened their windows to the world, letting in fresh air and unexpected sounds (including, somewhat surprisingly, a zither).
In the end, Big Thief’s metamorphosis feels less like an ending and more like a beginning. Or maybe it’s both — like that symbol of infinity they’ve chosen for their album title, forever folding back on itself while stretching endlessly forward.
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