Everything Everything – A Fever Dream Review 

Get To Heaven saw Manchester’s Everything Everything go from the Indie fringes to become one of Britian’s premier creative talents. It was a bold album full of brazen soundscapes and apbrupt transitions and told of the broken world they saw in 2015 (I know…) and the music was a reflection of that. They created a theatrical spectacle which spawned dramatic song progressions that were ushered along by Jonathan Higg’s sharp and at times rough, snarling falsetto. Of course, now they’ve got everyone’s attention they need to find a way of altering the outcome of their sound and keep their sound fresh. With the lyrical content only being ramped up instead of being changed, that leaves an onus on them to reinvent their already standout sound. 

‘Can’t Do’ had obvious shades of their last album with the song immediately opening with blocky synth chords with Higg’s quick/fast, quick/fast verse delivery. The punchy percussion and rumbling bass line add to this familiar setting along with the general rhythm of the track. It would indeed sound well placed on Get To Heaven, but it still packs a punch albeit a less intriguing one. Anything resembling their last effort though still has a semblance of independence from other sounds however. ‘Fever Dream’ starts things off in an ever so slightly different direction. Creating an almost hushed tone, the track begins with echoed choir drifting to a chilled piano line. But as always with Everything Everything, things gradually layer up. The tracks simple, frosty atmosphere unfolds into a more hectic, scattered feeling as familiar synths and intricate arpeggios usher in a shadowiness to the Mancunians instrumentation under pinning Jonathan Higgs vocal, with its sometimes resentful, though often nonchalant edge; ‘I hate the neighbors they hate me too’. Melodically the track spirals onwards, twisting around the outskirts of house beats but still crafting the band’s form of hypnotic repetition. Showing Everything Everything still rival Alt-J with their ability to experiment, things build with aggression into a glitched crescendo. ‘Don’t have a melt down it’s all been a dream’. Disrtorted bass sounds an electronica opens ‘Desire’ and forms the foundation for the song’s chorus. These waves of sound are beefed up by the vocal chorus pushing the song’s title through the opaque arrangement. Chiming rhythm guitars and quick paced bass line are complimented by an intrepid vocal performance throughout the verses. This is a more rough edged and raw version of Everything Everything and it still sounds modern, but perhaps more consistent which in this case is a positive. 

‘Ivory Tower’ is an unabashed attack on the world today. Musically, the roatational, repetive nature of the track, especially in the bridge section where the song’s title is replayed over and over before spilling into a highly charged chorus delivers a dramatic track. The same occurs towards the conclusion of the track, only this time it spills out into a sprawling and heavy instrumental of wiry and tearing guitars. ‘Run The Numbers’ is another example of a heavier sound wing put to use, only here it is taken from sheer rises and drops in sound and volume. ‘Good Shot, One Soilder’ whilst being a little aimless in the verses, features immaculately bridge sections from a lightly whirring synth feeding through Higg’s delicate delivery. The track concludes by going from acapella vocals to a concophony of electronic chords and beats coming to a theatrical fruition. ‘Night of the Long Knives’ opens the album and features shades of an Industrial sound with siren-like whirring in the chorus. This falls into a rapid and intricate rhythm section. Electronic flashes signal the opening of the weighty chorus that is packed by its bulky industrial arrangement. 

Everything Everything have udoubtedly tried to do things differently here. A heavier and rawer sound along with a few forays into different styles. It is still arranged to make a bold, maximum impact and every song is as hard hitting both musically and lyrically as the last. There are the odd moment where they fall into familiar territory or just try something that doesn’t quite succeed, but this album only cements their reputation as a innovative force in British music. 

Everything Everything – A Fever Dream = 8.5/10

Owen Riddle and Hayley Miller

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