Except today. Today is Monday. (Thanks to John for this suggestion!)

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[6.94]

Will Adams: There’s a heavy sadness in the realization of just how much working to the bone in order to survive drains us of the opportunity to create meaningful relationships out of the half-hour scraps we have left after the workday. But the sadness doesn’t need to last forever: with sun-blasted rock and a killer motto — “Fuck work, you’re here/Every day’s the weekend” — Alex Lahey creates a world that’s fueled by our own exhilaration.
[8]

Alfred Soto: Finally — a performer who gets that celebrating weekends implicitly honors the sanctity of capitalism. Not only are Monday and Tuesday perfectly fine day to act as if we have lives apart from work, but as the financial chasm between haves and have-nots widens most of us can’t afford weekends anyway. The rush of “Every Day’s the Weekend,” anchored by Alex Lahey’s thick mocking voice, acknowledges no chasm.
[7]

Alex Clifton: There are some songs that make you feel alive; they pound with energy and fill you with the impulse to move, dance, scream. “Every Day’s the Weekend” accomplishes that with ease. I want to blast this out my window, in cars with my friends, and yell along with the lyrics. There are some lyrical quirks here I know would irritate me in other songs — naming the days of the week (which is sometimes successful and, well, sometimes not), the slight awkwardness of “if I had it my way, your stay here would be prolonged” — but then we get a line like “you’ve got things like a family” which hints at a whole, less glamorous story in six words. Even with the darker read of an affair going wrong, this is still three minutes of raw, jittery joy. Props from one Alex to another.
[8]

Claire Biddles: “Every Day’s the Weekend” has that caution-to-the-wind drive that makes every moment it soundtracks feel like the closing credits to your own film. It’s joyful and triumphant and I’ve played it to death in the last six months and it will probably always remind me of the few treasured in-the-face-of-adversity moments of this shitty year.
[9]

Stephen Eisermann: Catchy riffs, guitar licks, and lyrics throughout: Alex Lahey has managed to make peppy rock more enjoyable than I thought possible. With “Every Day…” Alex crafted a song that sounds exactly like what infatuation feels like, and it’s both exhilarating and nerve-wracking to listen to.
[8]

Edward Okulicz: The drumming and guitar on this song are both so peppy and excitable that it feels like an extremely friendly dog jumping on your lap when you come home from work and squealing with infinite glee. Which, given the subject matter, is entirely appropriate. The rest of the song walks a line between throwaway punk-pop and indesctructible power-pop of a high calibre, and Lahey sings it with a giddy mix of anxiety and glee.
[8]

Joshua Minsoo Kim: Being romantically involved with someone such that every day feels like the weekend sounds like a good thing, but Alex Lahey proposes that it’s not so simple. You want to make the most of every moment, and that can be stressful and anxiety-inducing. To make it worse, your brain’s constantly nagging you about how it all won’t last forever. When Lahey rattles off the titular line and the individual weekdays, is she merely denying the reality of something good coming to an end? Despite all the energy Lahey channels, the chorus doesn’t quite stick the landing. Its tedium feels appropriate, though, since the lyrics reveal just how levelheaded she is throughout this celebration. She just wants to “ride this wave to shore,” tacked-on “whoa’s” and all.
[5]

Ryo Miyauchi: This is one impressive shrug as response, dressed up in killer riffs and sugar-sweet hooks. The elementary rhyme schemes only draw out more of the teenage mentality behind this slacker power-pop.
[7]

Nortey Dowuona: Solid, chugging guitars; flat, near invisible bass; thudding drums; Lahey’s soft yet powerful voice — all undone by a cluttered chorus gumming up the song’s momentum.
[5]

Micha Cavaseno: The nicest thing you can say is that it never overstays its welcome. The worst thing you can say is that for three minutes of your life, you’d be hard pressed to find a single memorable quality to the song. I suppose it’s fine to say Alex joins a lot of semi-serviceable rock strummers in being able to make a slightly more energetic chorus that feels like a slight development from her verses, and that this isn’t any big tragedy to a field as dire as rock in the 21st century. Doesn’t make it good though.
[2]

Crystal Leww: The only good songs made with guitars these days are either country songs or pop punk songs. The only good pop punk songs are the ones made by loud ladies like Alex Lahey. “Every Day’s the Weekend” contains hooks for days, and Lahey’s got a delivery to match its exuberance. 
[7]

Jonathan Bradley: Lahey presents as a worthy inheritor of a recent and welcome Australian tradition of sharp and plain-wrought punk bands with alarum immediacy and pop melody. Trace this contemporary manifestation from An Horse to Camp Cope: the sound of inner-suburban slacker youth in every state capital across the country. “You’ve got things like a family,” Lahey sings, “they’re a bigger deal than I’ll ever be,” and her diffidence, delivered over charged guitar lines, sounds exactly right. Bonus points for the “whoah-oh”s and organ runs: things no pop-punk number should go with out.
[8]

Hannah Jocelyn: A friend described Lahey to me as “Courtney Barnett with singing lessons,” not meant as an insult to Barnett but as a reference to Lahey’s polish as a singer and a musician. This extends to the production as well — those “whah-oh”s sound gigantic, and everything from the handclaps to the walls of guitar riffs contrast the somewhat grounded lyrical subject matter in a wonderful way. I initially misinterpreted the lyrics as being about an affair (“You’ve got things like a family/they’re a bigger deal than I’ll ever be”), but there’s too much genuine joy in the performance for any darker subtext. It’s just enjoyable and near-perfectly crafted.
[8]

John Ezekowitz: Alex Lahey’s debut full length album I  Love You Like a Brother is filled with songs about relationships, both  romantic and familial. Oftentimes, things are falling apart or have  fallen apart, but on “Every Day’s The Weekend,” Lahey exults in the joy of  newfound romance. Will this love last? Is it even love? Longer term  consequences are swept aside in the desire to convince her partner to  live in the moment. This sentiment is best summed up by the end of the  chorus: “You’ve got things like your family/they’re a bigger deal than  I’ll ever be/I know that’s okay; we should ride this wave to shore.”  Lahey has written three minutes of tight, relatable, excellent rock  music.
[8]

Eleanor Graham: I gotta say I’m in the mood for a little bit moooore of that. Gorgeous, head-first, angry-in-love indie pop-rock catharsis, making up in racing guitar and an expertly-placed WOAH-OH-WOAH-OH what it lacks in lyrical ingenuity. Did you guys know that I actually loved the first Catfish and the Bottlemen album? Don’t tell anyone.
[7]

Katherine St Asaph: Female-fronted pop-punk is still among the greatest genres ever, but this is mid-scale and flat in the same way Chairlift’s “Romeo” was.
[6]

Josh Langhoff: Such smart writing here. Lahey’s lover turns every day into the weekend, but Lahey’s notion of “weekend” includes not just its ecstatic Loverboy implications — “forget your inhibitions” and “Whoa-oh! Whoa-oh!” and whatnot — but also the dread that coils in the pit of the weekender’s stomach each time she remembers her idyllic escape will soon end. How exhausting to live each day like it was Sunday night! Jittery staccato guitars and a whipcrack rhythm section embody the tension but also barrel past it, as though Lahey’s weekend love, like a Mission: Impossible message or Republican claims to moral integrity, would dissolve upon inspection.
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