Thank Your Lucky Stars is the surprise album that was released to complement Depression Cherry. It's Beach House's typical, distinctive form of dream pop but recalls their earlier, less synth-heavy work—the spare atmospheres conjured by their self-titled record, and the largely midtempo, meandering, vocal-driven sonic spaces of Teen Dream.

1. (4:01) ** Majorette—Midtempo, idyllic. Sparkly keyboards and plodding synths. Very Teen Dream-era Beach House.
2. (4:22) She's So Lovely—Like Devotion-era Beach House. Forlorn, haunting, lots of reverb. Reminds me of their song "Heart of Chambers" off Devotion.
3. (3:48) * All Your Yeahs—Minimal electric guitar and bass and some of Victoria's strongest vocals. Gets uplifting with percussion and more synths at 2:30.
4. (5:36) * One Thing—Motorik synths, shoegazey distorted guitar, and slow, tired vocals. Piercing guitar solo at 4:40.
5. (3:08) Common Girl—Playful repetitive guitar line that augments the track's sense of aimless wandering. Like "Walk in the Park" off Teen Dream.
6. (4:04) ** The Traveller—Similar to "Majorette". Midtempo pace, gorgeous vocals. Like a solitary evening train ride somewhere southwest. Lonesome in a positive, comforting, joyful way. So very Teen Dream.
7. (6:30) *** Elegy to the Void—The most different from any track on the record. Steady, plodding beat that propels the song as it keeps building in more layers—synths, heavier percussion, guitars, distortion. Last 40 seconds are noticeably softer, almost silent in last 20 seconds. As Esquire noted in his review of Depression Cherry: "'What...what the fuck is this?! It's so...pretty...' Again, Ghost Kitty is thinking out loud. 'and...epic!' Ghost Kitty passes out."
8. (5:15) **** Rough Song—Another midtempo, classic Teen Dream-era track. Occasional arpeggiated synths and bright guitar lines. "Totems in the night / I want to forget / All that wasn't right / I need to leave". Stunning.
9. (4:14) Somewhere Tonight—Slow and dreamy in a heavy way. Victoria's voice escalates to higher registers at times. Ends with a surprisingly '80s, colorful, sustained synth note.