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Everything Everything (formed in 2007) Everything Everything are a British indie band consisting of lead singer Jonathan Higgs, bassist Jeremy Pritchard, drummer Michael Spearman and lead guitarist Alex Robertshaw.
Formation Everything Everything have members from Tynedale, Kent and Guernsey but the band are now based in Manchester. Higgs and Pritchard met at Salford University where they both graduated with degrees in Popular Music before going on to set up the band. Everything Everything: Musical career Everything Everything released their first single 'Suffragette Suffragette' in 2008 through XL Recordings. Singles 'Photoshop Handsome' and 'MY KZ, UR BF' came soon after in 2009 though the latter was released on the Young & Lost Club label.
Career: breakthrough came with their appearance on the BBC's Sound of 2010 poll. They subsequently signed to Geffen Records before releasing single 'Schoolin'' in 2010 which became their first to appear in the charts. Their debut album 'Man Alive' was released in 2010 and peaked at number 17 in the UK. It was also shortlisted for the 2011 Mercury Prize. In 2011, they performed at Radio1's Big Weekend in Carlisle and the following year they supported Snow Patrol on their Fallen Empires UK Arena tour. In 2012, they released single 'Cough Cough' - the first from their second album 'Arc' which came out in 2013.
Everything Everything were picked to headline the main stage on the Friday night at Blissfields 2016. The band played a selection of tracks from their three studio album. Winchester, United Kingdom - Friday 1st July 2016
Everything Everything's arrival in 2009 came via 'My Kz Yr Bf', a song which gave critics much leeway in comparatives. Based on its poly-rhythmic, twitchy math pop body and almost perfect euphoria soaked chorus, it was easy to sum up their hybrid appeal, or so it seemed: Sparks doing Slint whilst digging Late of The Pier? Maybe. Foals, without all the prissy, complicated abstractions? Sure. A universe apart from almost anything in their time zone? Definitely.
Clearly this freshly minted feeling of intellectual hair down was going to attract some comments about the clip of the foursome, but then again any outfit that gives their work titles like 'Photoshop Handsome' and 'Suffragette Suffragette' is apparently willing to stick their neck out for shapes being busted in Iambic Pentameter. A second album, 2013's 'Arc', underlined the ability of singer-songwriter Johnathan Higgs as an individual capable of fusing the realness of both art and emotion together seamlessly, a voice of conscience which placed the band into a category in which other Great British Avant Goodists such as XTC, Roxy Music and Radiohead had carved a similarly idiosyncratic niche.
The build up to 'Get To Heaven''s recording proved to be something of a tortuous process for Higgs, who had spent it absorbing some of the atrocities of our modern 24 hour news existence as connected directly into our lives via TV and computer. Building this kind of mental library can have a de-humanising effect on anyone, but the mental strafing turns itself into verbal ammunition on opener 'Blast Doors', on which the singer reframes the word play of Dylan's 'Subterranean Homesick Blues' in extremis. In one of its rare sedentary moments, Higgs gargles, "I can smell your fingerprints all over my computer": It's one of the album's signature moments, intimacy and paranoia on a knife edge, the twitching curtains of the psyche turning the outside world in.
Continue reading: Everything Everything - Get To Heaven Album Review
Recommended Albums... New York garage-rock new-wavers The Strokes are on album number five and Comedown Machine marks a return to form for Julian Casablancas & co. Whilst they may not be trying to replicate the pared down sound of their now-iconic debut This Is It, they have at least re-captured some of that raw energy. With a sound now owing as much to 80s synth bands such as A-Ha and Human League as it does to their beloved garage rock idols.
As a result, The Strokes, circa 2013 finds the band fully rejuvenated and seemingly enjoying themselves. They may struggle to regain the popularity that they enjoyed when the band first emerged but they have at least done themselves proud with Comedown Machine.
Albums of Note... David Bowie’s return to the shelves of our local record shops (well, the few that still exist) has been met with a grateful and adulatory fanfare, across the board and it’s been no different here at Contactmusic. Having run out of contemporary influences upon which to draw, Bowie took the old adage that pop will eat itself and made an album to fit. On The Next Day, Bowie largely references himself and his own body of work, recalling his Berlin days, as well as providing an extension of the tracks he released in the nineties.“Assessing how The Next Day sits alongside anything else he's done is irrelevant; an artist who has gone through as many character changes, taken on as many styles and moved through as many eras as he has defies such lazy list making. What can be said is that it is, at this point in time, at this point in his life and career, probably as good a record that David Bowie could've possibly come up with.”
Some of the mystery of Rhye’s cloaked existence has been unveiled and the band’s two components have been revealed as Toronto born producer Mike Milosh and Robin Hannibal of Quadron. They draw comparisons to The XX, partly thanks for Milosh’s falsetto, which led many to believe that it was a woman on vocals. Possibly part of the reason they choose to entitle the album Woman...? “'Woman' is a chilled, tranquil listen but not a boring album by any means. The duo creates songs that fill with distant, mysterious moods. But, it still feels like an intimate album piled high with textured layers.”
Albums of Note... Deftly side-stepping the pitfalls of ‘second album syndrome,’ Everything Everything have stepped things up a notch with second album Arc, which looks set to raise their profile even further. They’ve retained their quirky dance geek sound, but this time around, the songs have a darker, more emotional sound. Where their debut was playful, a newfound intensity can be found on this follow-up. “Arc offers more drama and intensity than the playful-ness we heard on Man Alive, Everything Everything's 2010-released debut… each track stands in its own right; nothing is filler and Arc maintains interest throughout; it's a much more mature offering than Everything Everything's previous, particularly with the likes of the gentle, piano-backed 'The Peaks, which sensitively showcases their trademark falsetto vocals in an atmospheric setting.”
Paul Weller’s latest release, the ‘Dragonfly EP’ is described by our reviewer as a “victory lap.” The EP contains a number of unreleased tracks from the Modfather’s trilogy of experimental albums released in 2012. Described as “by no means essential for the casual fan,” the tracks contained herein are a step away from the sonic experimentation of the albums and are closer to his early solo days.“The Dragonfly EP is therefore well worth your time if you have any interest in Weller's more recent output. However, for the more casual listener, it may seem like it's business as usual for the Modfather. The 5 additional songs certainly deserve to be heard, and it's a welcome move that they haven't just ended up on the cutting room floor.”
There's not the slightest linger of second album syndrome for Arc, Everything Everything's second full length offering; instead, it's a similarly eclectic yet more mature offering during which the band appeal to dancing feet with their usual electronic geekery, whilst also capturing a darker feel.
To start, lead single 'Cough Cough' weaves vocal samples in with drums to create a percussive accompaniment to the distinctive 'spat out' melody; it's quite an empty beginning, void of instruments and depth to start with before synths layer into the mix. There's a menacing bite to 'Cough Cough' which, though it's contrasted by a more spacey chorus, heralds the start of what is to come from much of Everything Everything's second album. Apparently a Native American term of endearment, 'Kemosabe' opens with more of the same synth and sample constructed percussion and builds into a soaring falsetto chorus melody over a funky pop beat. 'Torso Of The Week' begins a more sedate affair and builds with intricately woven guitar parts, alarming falsetto and uneasy tonality that draws from the influence of Radiohead, which is contrasted by a more 'pop' chorus. A string backed ballad with more of the heart wrenching and less of the angry and easy, 'Duet' follows changing the vibe yet again. Even in the eclectic opening quartet of tracks, Everything Everything give us variety in complete extremes; the confidence to sound the funky pop beat of 'Kemosabe' alongside 'Torso Of The Week' which nods to the uneasy tonality of Radiohead.
Echoing in the vein of The XX, for example, with 'Choice Mountain', Everything Everything blend piano backed balladry with a refusal to step away from their electro pop comfort zone, but the track then pushes to a reverb ridden guitar-backed section that offers a glimmer at the transcendental likes of Sigur Ros; successfully mixing brooding echoing melodies with an urban electro pop fuzz. 'Feet For Hands' continues similarly opening with the angst of an acoustic guitar backed singer songwriter, though later again refusing to leave the electronics aside. 'Undrowned' meanwhile opens with an organ keyboard sound and continues in lilting melancholy backed by interweaving undulating guitars and a more gentle and sombre sound before eventually building with drums and dying out to a 'True Love Waits' ending. The title track of this offering sounds atmospheric strings and gentle drums building to layered echoing vocal parts; another brief glimmer of the sublimely beautiful. Then, completely the opposite, it's Frankmusik that springs to mind with 'Armourland'; synth ridden with a typical beat and a good old honest pop love song. 'The House Is Dust' slows the tempo right back down with throbbing melancholy drums and low synths, and we're back to the moody vibe of the likes of Hurts, before dying out to a gentle piano-backed conclusion. It's definitely to be said that Arc offers more drama and intensity than the playful-ness we heard on Man Alive, Everything Everything's 2010-released debut.
Continue reading: Everything Everything - Arc Album Review
Selected for the long list of the BBC's "Sound of 2010" poll, Everything Everything chose to submit "My Keys Your Boyfriend" as the track that would define them the line up of tastemakers that the Beeb would use to judge the highbrow talent contest (No reality TV stars allowed, you see).
Continue reading: Everything Everything, Man Alive Album Review
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