Yeah Yeah Yeahs, “Cool It Down.”

While the pandemic drove the creative process of countless records, for New York indie rockers Yeah Yeah Yeahs, it provided the flashpoint for the band to get back together. That would become the trio’s fifth studio album; its first in nine years. That’s not to say the years prior were spent idle. Rather, quite the opposite. Vocalist Karen O, guitarist Nick Zinner and drummer Brian Chase had plenty of individual endeavors that kept them busy. The reformation had already been in the works, but with the pandemic offering a glimpse of a world where playing together might not be possible, the decision was quickly cemented.

Cool It Down isn’t a dramatic departure for Yeah Yeah Yeahs. It’s a distillation of everything they do best into a tightly woven and well-crafted package. Clocking in at just eight tracks, the album is expertly crafted without filler.

From Karen O’s earnest and impassioned vocals to the impressive songcraft and musicianship of Zinner and Chase, the band picks up right where it left off, delivering supreme rock tracks with pop hooks and sensibility.

Some tracks are a spacious slow burn, like opener “Spitting Off the Edge of the World,” a collaboration with Perfume Genius. Karen O’s vocals are as dynamic as ever, carrying a cinematic personality, and this song is a welcome showcase of that.  The track even closes out with a cascading wall of sound of percussion and fuzzy guitar tones.

Don’t let the short tracklist fool you, there’s plenty of meat on Cool It Down, with most songs upwards of four minutes or more and each finely tuned and crafted. “Lovebomb” is dark, brooding and atmospheric while still achieving melody through Karen O’s nuanced and intricate delivery.

One of the album’s highlights is the upbeat and danceable “Wolf,” a divine stew of synths, guitars and memorable vocal melodies. The soaring cut even changes directions midway through, flipping to a stripped-down but still groove-heavy jam. The orchestral and cinematic flair elevates it to an even higher level.

While it’s also upbeat “Fleez” achieves its goals in an entirely different way. The track does more with less, leaving space for the bass and guitar playing to lead with the way. The mood is much lighter and fun, and the song feels more like a spontaneous spark-plug of energy. “Burning” keeps things moving, tapping into a throwback sound, coming alive with an explosive energy that mixes in elements of both funk and Latin music.

The synth-heavy “Blacktop” is calm and melodic, creating more room for the vocal melody to move it forward. The lull is temporary as things ramp right back up for the expansive and beat-heavy “Different Today.” The record bookends with a short, spoken word track, which features Karen O narrating “Mars” over a quiet synth, recalling a conversation with her son.

Follow writer Mike DeWald at Twitter.com/mike_dewald.