Had the title not already been taken by a slightly (give or take a few hundred million dollars) less high-profile couple earlier this year, Jay-Z and Beyoncé’s first full-length collaboration could have been called Everything’s Fine. But that’s not especially befitting of a power couple whose personal exploits have been impossible to completely ignore, no matter how much you try to avoid tabloid scuttlebutt. Plus, as an end to a trilogy (?) during which Bey and Jay each hit peak candidness, on Lemonade and 4:44 respectively, it’d be a rather deflating denouement.

Instead, we have Everything is Love (stylized, of course, as EVERYTHING IS LOVE), which can only work by pulling off the balancing act of convincing us that The Carters are ready to move on with their marriage after the strife caused by Jay-Z’s infidelity, while also taking what happened as seriously as possible, without sugar-coating. The love of the title is not only love for each other. It’s also for their children, friends, skin colour, and homes, and each is given a proper distinction to show how wide the spectrum of affection really is.

Crediting the album to “The Carters” was wise, as neither Beyoncé nor Jay-Z deserve to be mentioned before the other. There are tracks where one impresses more, such as Beyoncé’s dynamic flow on Migos co-authored single “Apeshit” or the regrets that still haunt Jay-Z in his extended verse on “Friends,” but it’s never off-kilter in terms of who’s given things to do. Depending on your expectations, it might be more or less intimate than you anticipated. Its track-length is slim as is its guest list, (only Pharrell gets a full-on verse and his appearance makes him feel like a third wheel), and the production doesn’t get more animated than Pharrell’s bouncing futuristic beat on “Apeshit.” but it’s not a hushed stand-off where each is waiting for the other to lose their cool. Both handle the situation maturely, the only slip-up being on ‘713,’ where Jay-Z seems to try to excuse his cheating as a result of trouble maintaining close relationships.

A relative lack of drama might disappoint those who feed off learning about the private lives of private citizens as much as possible but no amount of airing dirty laundry can satiate them. The rest of us can appreciate The Carters for not giving us an album that feels like it’s holding us hostage in a never-ending argument. Self-aware of their reputation and stature, Beyoncé provides the hook “No need to ask; you’ve heard about us.”

That reputation keeps Everything is Love from ever trying too hard to impress, but it’s not phoned-in either. It’s fun without trying to be “Fun.” A track like ‘Apeshit’ goes all in and makes the most of it with lines like “I’m like Chief Keef meet Rafiki, who been lyin’ ‘king’ to you?” Less bombastic but no less satisfying is when they each pop in with Migos-style ad-libs (Jay-Z on opener ‘Summertime,’ Beyoncé on mellow-sounding Braggadocio Maximus cut ‘Boss’) or the chuckles caught on recording that cut through the tension of ‘Heard About Us.’ Had this album been made six, seven years ago, it might go heavier on the hard-hitting singles that you hear out of every car stereo for the rest of the summer, but circumstances begat something that, if not necessarily better, is arguably more interesting than a total bash of an album.

Don’t mistake a lack of bangers for a lack of energy, though. The Carters are at the top of the world and know they can coast on having “made it” or let you know that they will speak out whenever they can, whether it be about staying off Spotify, not playing the Super Bowl, taking umbrage with Grammy snubs or producing documentaries about Kalief Browder and Trayvon Martin. The constant dropping of luxury cars by Jay-Z is less about making the listener feel bad about their own lot in life than it is about him never forgetting his roots. (“We started with a mustard seed/Now we in the grey 911 with the mustard seats’)

As ‘Lovehappy’ winds things down, The Carters seem as ready as they’ll ever be to put an end to this chapter of their lives, at least publicly. Beyoncé provides the thesis for EVERYTHING IS LOVE: “Love is deeper than your pain, and I believe you can change.” This isn’t an album of ‘Crazy In Love’ or ‘Drunk In Love’ successors. It’s an album of love, and all the forms it can take in and outside of you.