Everything Everything – Get to Heaven Review

Manchester based Everything Everything sit very close to the throne of Art Rock, but this genre is only applied to them due to the sheer wealth of their genre base which makes some bands look pre-historic. But, there has been a difficulty in encapsulating all of this promise into a near perfect body of work with their first two albums, with many reservations stemming from an inability to follow and a lack of flow as opposed to any technical or musical ineptness. Their first two albums have still been very solid in this respect and the key for them as opposed to many other lacklustre bands is that they just need to make their sound more manageable and the third album Get To Heaven is no better time to do that is it not?

‘Regret’ was the lead single off the album and is a hard hitting track without feeling the need to implode our ear drums. It’s crisp and snappy percussion is accentuated with a faithfully following riff and chant-like backing vocals in the chorus, anchored by the nudging bass-line. From this intricate foundation fires the sharp lead riffs and Jonathan Higgs’ wailing and spiralling melodies that fall down into the dark and rough depths of his range. They condense the complexity into combinations of instrumentals so keeps the song dynamic, but also direct. ‘Distant Past’ features buoyant bass beat in isolation aside from Higgs’ rapidly delivered and antagonistic vocals from which come random, yet creatively linked lyrics. A falsetto interlude sends the song into it’s chorus as he demonstrates another vocal style plucked from his sleeve. Here the chopping guitars and quick percussion charge the song to hit it’s peak. The song easily switches and shifts to move back into it’s dance-type segments with added punch and to slide off into strung out and slowly oscillating soundscapes. The title track is a little more simple musically and is more of a genuine ‘indie’ dance track with it’s groove-filled bass lines, melodic rhythm guitars and small electronic additions. The chorus features high pitched harmonies that play off Higgs’ more lower toned vocal. The song then progresses towards an instrumental of rough riffs playing off their clean cut and slick counterparts before the latter lead the song back to it’s chorus. This shows that math-pop can be more inventive and appealing than it has so far proved to be.

‘Spring / Sun / Winter / Dread’ have distorted synths opening the track at high volume with Higgs’ vocals wonderfully sweeping across the stage set about for them by the electronica. This sums up the song as it goes on to feature more variations of bouncing electronica with the bass parts only coming in to highlight the sound instead of propping it up. Another brilliantly delivered and creatively heightened track. ‘Fortune 500’ is arranged in a similar fashion with the vocals set in front of flashing and rotating high pitched synths and from this is the gradual peaking of the sound with the other instrumentation coming in to add a driving engine to the track. It goes on to absolutely master the sound and space around it in a cinematic fashion as they drop the sound and instantly pick it back up again. It’s like a truly modern theatrical event with the vocal harmonies contenting with the trembling electronica. ‘No Reptiles’ is verging on madness as the vocals keep pace with the sped up electronic beat with heavy piano chords accordingly intervening. Higgs’ then is album to switch his vocal and a more gradual and consistent grade which takes over the lead of the song and from this point the song goes on to embark on a shimmering, sonic acceleration of epic proportions. You can only imagine what that might sound like live. ‘The Wheel (Is Turning Now)’ is melodic and pop-rock shaken up and reimagined whilst ‘To The Blade’ shows just what can be achieved heavy distorted guitars once they’re used in an inventive and original fashion.

I quite frankly wasn’t expecting this album to be this good, even after hearing the singles I expected like most acts this year that they’d not meet expectations in creating an album of that standard. In this case Get To Heaven has album tracks that go way beyond the singles to areas of the theatrical, expansive, dark and those of shimmering quality. When you add to this prospect Jonathan Higgs’ highly versatile vocals and the perfectly absorbing production, then you have an album that is potentially a contender for album of the year. They can tick off that issue of not having an album that flows either despite catering for so many areas. It’s a resounding ‘Job Done’ with this album.

Everything Everything – Get To Heaven = 10/10

Owen Riddle @oriddleo1995

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