|Get to Heaven [Deluxe Edition]|
Everything Everything — Get to Heaven [Deluxe Edition]••• Pop explorers Everything Everything have finally discovered their utopia.
••• Genre–hopping, arty indie rock from Manchester that cites influences as diverse as the Beatles and Bowie, R. Kelly, Ezra Pound, and Steve Reich.
Formed: 2007 in Manchester, England
Location: Tynedale, Kent and Guernsey ~~ Manchester, England
Album release: 22 June 2015
Record Label: Sony RCA
Duration: 46:09 + 21:17 => 67:26
01 To the Blade 4:14
02 Distant Past 3:42
03 Get to Heaven 3:44
04 Regret 3:23
05 Spring/Sun/Winter/Dread 3:18
06 The Wheel (Is Turning Now) 5:28
07 Fortune 500 4:16
08 Blast Doors 3:30
09 Zero Pharaoh 3:39
10 No Reptiles 4:43
11 Warm Healer 6:12
12. We Sleep In Pairs 3:14
13. Hapsburg Lippp 3:40
14. President Heartbeat 3:22
15. Brainchild 3:52
16. Yuppie Supper 3:34
17. Only As Good As My God 3:35
••• Jonathan Higgs — Vocals, Guitar, Keyboards, Programming
••• Jeremy Pritchard — Bass Guitar, Backing Vocals, Keyboards
••• Alex Robertshaw — Guitar, Backing Vocals, Programming, Keyboards
••• Michael Spearman — Drums, Keyboards Producer: Stuart Price
••• Silent Alarm was received to critical acclaim. Aggregating website Metacritic reports a normalised rating of 81% based on 8 critical reviews which indicates “universal acclaim”.REVIEWER: ANDREW BACKHOUSE, SCORE: *****
••• Everything Everything have sculpted a masterpiece.
••• Survival of the fittest — it’s the metabolism of nature. You have to evolve if you want to survive. Where other 2009 hype competitors have flailed by the wayside, Everything Everything are on their third album, ‘Get to Heaven’.
••• From the snarling rage of ‘To the Blade’ — to the ecstatic bliss of ‘Warm Healer’ — pop explorers Everything Everything have finally discovered their utopia. With music this innately hypnotic, EE could get away with singing in Simlish. Their lyrics have been famously misheard back since their very first single (is he really not singing “who’s gonna sit on your face when I’m not there?”?), and you won’t be short–changed here. Come their festival performances of ‘No Reptile’, the line “baby it’s alright to feel like a fat child in a pushchair” will have the tattooed blokes chortling into their pints, then stunned and goey–eyed.
••• But look deeper. On ‘The Wheel (Is Turning Now)’, they continue to explore their fascination with the evolution of mankind, from the trees to computer screens (“do you wanna know how far you’ve come?”). It’s a self–portrait, because EE make Darwinian swings from album to album. EE sound unique, and yet none of this is new. ••• Much like British culture is made up of the best bits from the countries we’ve invaded, EE have plundered pop music. After the Radiohead–meets–Destiny’s Child explosion of their debut ‘Man Alive’, an arena tour with Snow Patrol inspired the EE to drop the ‘noodle–y bits’ to inhabit the role of stadium–conquerors — resulting in the anthemic euphoria of ‘Arc’.
••• So what’s new? Well it seems, since their international tour with Foals, they’ve returned to their experimental roots — only this time, there’s a new–found swagger. ••• ‘Spring/Sun/Winter/Dread’s sassy semi–rap of “you did it to her, and you did it to him” isn’t a world away from the barbershop Destiny’s Child vocals that adorned their debut. And yet this is in a new gear to what their younger selves — or any other band today — could ever dream of.
••• Forget everything you’ve just read — Everything Everything have sculpted a masterpiece. ‘Get to Heaven’ may well have slipped from the clouds. ••• http://diymag.com/Musical style:
••• Everything Everything are noted for an extremely eclectic and dynamic style, with complex song construction and dense, detailed lyrics sung in falsetto by Jonathan Higgs. While nominally an alternative rock band with outright pop stylings, the band uses production and rhythmic approaches closer to those of contemporary R&B, glitch pop and electronica (including heavy use of laptop programming and processing) and songwriting approaches similar to those of progressive or psychedelic rock. Critic Paul Lester has compared Everything Everything's sound to "a riot in a melody factory" and compared them to "Timbaland if he cocked an oblique ear to Yes". In the Guardian, Mark Beaumont described the band as "the most intricate, streamlined merging yet of math rock's arch complexities, electronica's 80s obsession and hooks made from mobile phone interference."
••• When asked about their sound in an interview with UK music blog There Goes the Fear in Leeds in October 2010, singer Jonathan Higgs replied, "We think of it as pop primarily. We try not to make it sound like a lot of things you’ve heard before, not on purpose, but it tends to come out a bit like that. We’re not really interested in copying certain genres or anything, so I guess you’d say it’s unpredictable and sort of surprising." Higgs has counted Nirvana, Radiohead, the Beatles, Destiny's Child, and R. Kelly as some of the band's very eclectic stock of influences.
••• Bassist Jeremy Pritchard has said the band's intention is "to avoid cliche, or the cliches expected of white men with guitars from Manchester" and sums up their sound as "highly stylised and deracinated — we're influenced by everything except 12–bar blues." He's also commented "There are no genres I can think of that we haven’t learnt something from. We all share a huge number of basic passions like Radiohead, but we all come from different areas of popular music: jazz and funk; modern US R'n'B, prog and krautrock, post–rock/punk/hardcore. And we all love good honest pop. We’re a pop band as far as we're concerned." He's noted that the band's lyrics are "almost always layered with several meanings, and play with puns, quotes or alliteration a fair amount, but never just for the sake of it."
••• In an interview with the Irish Times, drummer Michael Spearman said “It sounds quite cheesy, but stuff like Destiny’s Child has proven just as important as The Beatles and Radiohead. I suppose that love of R'n'B comes through in a way. We don't normally say 'we want this song to sound like this or that', we try to be as organic as possible. It's like with The Beatles — they were trying to play the black music of the day, and by doing so, they sort of changed it, it became a different thing. We thought about... trying to get Timbaland in, or something. But we decided against it, because it's a fine line between filtering that music, or just trying to ape it by going to the source of it... We all love Michael Jackson and stuff like that; dance music in general, or just that sort of syncopated music. That's something that connects all of us.”Review
•• The Manchester art–poppers' third lacks the tunes of 2013's 'Arc', but its quaking sense of dread still impresses
By Barry Nicolson, June 5, 2015; Score: 7/10
By Haydon Spenceley; Score: 9/10
•• An imposing return from one of Britain's best pop bands...
|Get to Heaven [Deluxe Edition]|