\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div> \n\tMitski has never been afraid of thinking big, and there are moments here where the floorboards groan a little. \u201cThe White Cat\u201d is tumultuous bombast where staring down the neighborhood stray cat becomes a spooky reckoning. \u201cIt\u2019s supposed to be my house\/But I guess now according to cats\/Now it\u2019s his house.\u201d Dogs step into the spotlight on \u201cCharon\u2019s Obol,\u201d a sweet, moody country tune with backing vocals off an Fifties Elvis record in which a pack of pups holds a somber funeral vigil outside the home of their dead owner.<\/p>\n \n\tMitski is at her best in this album\u2019s more elementally human moments. \u201cIf I Leave\u201d unsettles the nostalgic settings for the kind of big, slow, distortion-heavy guitar epic she gave us on her 2016 classic \u201cYour Best American Girl,\u201d as Mitski delivers desolate lyrics with a cathartic sense of menace. And she closes the record with \u201cLightning,\u201d which goes from Mazzy Star to My Bloody Valentine as the music swells around lyrics that welcome a violent baptismal storm. \u201cCould I come back as the rain,\u201d she asks. It\u2019s primal highlights like this where the sad beauty and rough freedom at the heart of Nothing\u2019s About to Happen to Me<\/em> begin to merge with the eternal.\u00a0<\/p>\n<\/div>\n