Love ‘em or hate ‘em, Everything Everything with their debut release Man Alive have undeniably produced one of the most original albums of the year. They weren’t kidding with their name; more instruments and styles than you can possibly imagine are featured at some point in the twelve tracks which create this rollercoaster of an album. Their evident ambition is applaudable if at times somewhat exhausting, yet ironically it could well be their striving initiative which will ultimately prevents them from experiencing the mainstream success that many of their indie-electro are currently enjoying.
If there’s one thing this quartet prove they’re brilliant at, it’s executing time signatures that metamorphose so swiftly they leave you giddy. Single 'My KZ, Yr BF' was possibly the best example the band could have chosen to act as a springboard for their rather individual style. Distinct changes in tempo between the chorus and verses (and even in the verses themselves) are something that the majority of their songs possess, and you quickly find yourself anticipating the sudden burst of keys that separates the two motions in this opening track. 'Photoshop Handsome' continues the sense of fast-paced joviality, and the surge in energy and vocal tone during the chorus makes it so damn catchy that it’ll be running through your head for hours after. Elements of the Futureheads’ early style seeps from deep within 'Qwerty Finger', as frantically charged guitar riffs find themselves entwined with lead singer Jonathan Higgins’ speedy singing and moments of shouty vocals. However, if you’re thinking that Everything Everything’s style is to continually gallop along faster than the bookies’ favourite on race day, you’d be wrong. For the simmering intensity and lyrical rawness that slower tracks such as 'Leave The Engine Room' and 'Final Form' possess demonstrate that the band are evidently more than just a one-trick pony, and they’d certainly benefit from exploring this further.
Higgins’ vocals are one of the first things you notice when you listen to the band. Continually hitting notes so high that even a Bee Gee would shake with envy, this certainly distinguishes the group from their sullen and raspy contemporaries. However, this could also be considered one of their greatest downfalls, with the vocals often being at such a high speed and pitch that the lyrics verge on incomprehensible. Left to ponder how Higgins performs without tripping up over his own tongue, we sadly miss out on moments of brilliant songwriting and connotations that provide a valuable hidden depth to their boisterous top coat.
The acute fusion of edgier guitar riffs and more erratic electronic keys showcases indie at it’s best and the sheer daring and self-assurance on show is something that many who label themselves under this genre are currently lacking. However, the ultimate test for Everything Everything will be how the lauded ‘breath of fresh air’ stance that forms a large portion of their driving force will manage to sustain itself when the oxygen mask is swiftly and unashamedly bestowed upon the industry’s next great discovery.
This review was originally published on www.culturedeluxe.com
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