Everything Everything: All over the place

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Everything Everything is a band with an electric sound, one that deserves a chance in the spotlight. 

Music originating from or being made by artists in Britain has been mainstream in the United States for quite some time now. We all are familiar with the fact that The Beatles dominated the late ‘60s and ‘70s, and the Brit-pop groups of the nineties, like Radiohead and Coldplay, have broken into our collective consciousness. British acts have successfully cemented their place in the American music scene. Where might there be a place for the British rock band Everything Everything?

 Forming in the early 2000s, Everything Everything is a band that you have likely never heard of. Though some of their albums are divisive, I personally feel they range from good to fantastic overall! Join me as I weave you through their releases and history. Hopefully, I can convince you to give them a chance. 

Everything Everything came onto the scene with their first album, Man Alive, in 2010, and I wouldn’t say it was the strongest start. The album had as many fans as it did haters, and while it was nominated for a Mercury Prize, it ultimately did not receive the award. Though, the haters who provided their lovely backlash were proven wrong by Everything Everything’s sophomore release, Arc (2013). 

While their debut album may have had some good moments (despite criticism), Arc (2013) was the moment and stands as a highlight in their discography. I could tear apart and gush over the diversity of each song. The propulsive energy in “Cough Cough,” the glitchy and catchy rhythms in “Armourland,” the brightness of “Radiant,” and the melancholy tones in “The House is Dust” are great in their own ways. This diversity of sound also breaks a curse that plagues many albums and artists: Same sound syndrome. “Don’t Try” is like a fusion of Queen and fun.—the vibes are everywhere, but the entropy is fascinating. 

While Arc (2013) is a personal favorite, their next album, Get to Heaven (2015), is argued by many to be the best. Do not let the chaotic album cover fool you—the songs showcase (at times) a peaceful side of the band that contrasts former work. The quick but instrumentally steady nature of “Blast Doors” and the fun, groovy bassline in the closing of “Warm Healer” are some notable high points this album offers its listeners.

Everything Everything continues to make music to this day, and while it is still enjoyable, I regret to inform you that they have not reached the peaks of the two previously covered albums. There is not much to note, but I will emphasize that the music in albums such as Re-animator (2020) still has the highs that make it worth checking out. 

When talking about the band's history, it is impossible to ignore their recent project. A few years ago, the group came out with the album Raw Data Feel (2022), a simple but weird concept album. All of us—and your homework assignments—know about the asset that is AI. While I personally believe it is a monster that cannot be trusted and should be burned at the stake (I am sure many artists would agree with me), Everything Everything decided to utilize it back in 2022, when AI was still in its infancy/experimental stages. 

It is hard for me to complain about this album. The AI was used to a minimum (it made a few random lyrics and created visuals), and the whole thing was, simply put, fine. While it is not as great as their previous works, it is catchy and has a concrete concept. This was a step in the right direction for Everything Everything: A new vision and momentum. It is funny how a simple idea brought Everything Everything back into the light and acted as a better advertisement for AI than the horrid things we see today. 

As of now, I have not listened to their new album Mountainhead (2024), so sadly, I cannot comment on their progress, but if it is Everything Everything, I know it will be something to enjoy. With or without AI, the British rock band produces a progressive sound I hope to see more of in mainstream American music.