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

Single Review – Everything Everything – I Believe It Now 

The Manchester based group came up with sobering and stark album last year with Get To Heaven. It was filled with theatre and grand cinematics to leave a distinct unease and tension; a powerful album. Now they are said to b back in the studio already for album number four and from it is a new track ‘I Believe It Now’. You already be familiar with it from BT Sports Premier League coverage, but for those who aren’t, the song is a pacy and purposeful song that builds to a joyous chorus. Unsurprisingly, it is bold and half shoved down your throat with punchy beats and Jonathan Higg’s piercing falsetto. It is the group at their best and whilst not a deep, profound entity, it is a roaring and energetic track that still retains their eccentricity. Hopefully the album will follow suit.

Owen Riddle

Musicandotherthingz.com Best British Act of 2015

Here is the list of ten nominees for best British Act.


3. Chvrches (16%)

The Glaswegian synthpop trio returned from the success of their debut album with a leaner and developed sound in 2015 with Every Open Eye. Their sound was more prominent, powerful and slick, yet the emotive lyrical content remained and this made for some of the best Pop tracks of the year. In 2015 Chvrches demonstrated that they have serious staying power.


2. FOALS (20%)

FOALS took on Hard Rock and pure Alternative music with their fourth studio album What Went Down which came out late in August. They widened their appeal and did with Hard Rock what many have failed to do in recent times; make it into a dynamic and significant music. They also provided us with vast soundscapes and some familiar reminders that they’ve still got it in them.


  1. Everything  Everything (28%)

Manchester based Everything Everything gave us their best album yet with Get To Heaven back in June. On all fronts the album was bold, uncompromising and aggressive; this was particularly true with their dark lyrical content about the rise of ISIL, their bemusement at British politics and repeated mass shootings. Their view of a World failing itself was encased with varied music on a dramatic and cinematic scale, making the message all the more powerful. The bookmakers making them a shoe-in for a Mercury Prize victory soon after the album’s release demonstrated the wide acclaim and recognition of their third album. Their failure to get a nomination for the Mercury Prize was a glaring and embarrassing omission.

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

Single Review – Everything Everything – Regret

Upbeat and unbelievably catchy, Everything Everything’s latest single Regret is already engrained in my head after just a couple of listens. This track is a fantastic pop hit destined for copious radio play, and yet there’s far more to it than plain old pop. A little Police-esque reggae injection, some psychedelic guitar in the middle break, a punchy rock drumbeat and a lovely Mancunian falsetto from lead vocalist Johnathan Higgs makes this a song that simply can’t be defined to a specific genre. Much like their 2013 hit ‘Kemosabe’, ‘Regret’ demands listen after addictive listen. Now please excuse me as I spend the rest of my day shouting “Regret, regret”.

Ellie Scott @Elliemaryscott