Everything Everything / “Arc” / Review
Read it on Chasseur Magazine Issue 3 / Utopia / Page 6
When British indie-pop-rock Everything Everything released their debut album back in 2010, frontman Jonathan Higgs explained their sound as “pop primarily but I think it’s a little bit more interesting, so I guess you’d say it’s unpredictable and sort of surprising”. They are familiar with the “surprise effect” since their beginning when first they made the longlist of the BBC Sound of 2010, a list created by Britain’s tastemakers who vote for their favourite new artists, then they had their “Man Alive” album shortlisted for the prestigious 2011 Mercury Prize.
“Arc”, their second studio album, is set to surprise their fans as the word “pop” here is nothing like anything that may cross your mind right now. Getting to the core of this work is like removing layers of complexity and facing the fear of technophobia which is the theme of their songwriting. If “Man Alive” was a wonderful attempt to impress us with overwhelming multi variegated rhythms as to proclame themselves as innovators, “Arc” may kick off in a similar fashion with singles “Cough Cough” and “Kemosabe” but it turns soon enough into a more accesible and ethereal album thanks to the transcendental “Undrowned” and “The House is Dust”.
In this work of transition the album title sounds like a premonition becoming real. They take their musical baggage on board of this metaphorical arc before the flood arrives and in these moments of reflection tracks like “Duet”, “Choice Mountain”, and “Armourland” show us a side of the band that can fall into a new art rock category, whether the “Arc” is filled with echoes of Radiohead and Sigur Rós or an intricate musical system that adds up to the indie genre.