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.
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