2024-03-09 11:57:11
Everything Everything like the idea for the cover of Mountainhead have borrowed, but otherwise remain solely committed to their own, idiosyncratic art-indie rock eclecticism on their seventh studio album.
The subjective problem with Get to Heaven It only became clear in the rearview mirror: Although A Fever Dream (2017), the bottom RE-ANINATOR (2020) and Raw Data Feel (2022) were all successful albums that underlined the consistently high-frequency quality of the British quartet quite seamlessly, but the 2015 zenith was due to the band’s MO, which served the band’s MO almost ideally Everything Everything-Discography a real shadow over the subsequent works, which simply seemed more underwhelming than they actually were.
Also Mountainhead is not completely succinct and, despite a failure-free relay of in-house instant favorites, there are no real goosebumps songs from the brand The Peaks can be shortened in some places – for example a few too liberally repeated choruses, or the self-referential plucking indietronic appendix The Witness (a world-building letter to the well-known returnee Raymond into the futuristic world of capitalism), which is really convincing but not essential, especially following the soulful musing City Songwhich gives the feeling of a futuristic anachronism of the 80s without any real 80s clichés, which would simply have been the better ending to the record.
But apart from that is Mountainhead then finally the album that meets the expectations sown in 2015 and, without a radical course correction, is the band’s best release since Get to Heaven: catchy and creative, only acting risk-free in its own context, therefore in a broader sense original, motivated and ambitious – entertaining anyway, but also serving up as many catchy tunes as we haven’t had in a long time.
Just the initial phase, which… Wild Guess Driven with an edgy groove, its chorus wallows in dreamy longing and overwhelms The End of the Contender meanders around the cut-and-paste choir elements of the super single Cold Reactor to model it as a singalong. R U Happy? In his somnambulistically danceable R&B-electro-indie, he crafts a hook that strolls along the edge of nerves The Mad Stone relaxes and feels wonderfully lively as a summer fairy tale.
Even apparently good standards like the lively, cinematographic one, which creates a symbiosis of string synths and fidgeting drums Buddy, Come Over In the flow of the album, they function as a triumph at second glance at the latest, before the great second half of the record almost subversively highlights the strengths Everything Everything declined without being intrusive on display.
After the chamber music plucked interlude TV Dog the ambience follows Canary a contemplative beat and Don’t Ask Me To Beg runs with a sure-footedness on the dance floor. Your Money, My Summer Meanwhile, it jingles pleasantly, dreamily and rhythmically Dagger’s Edge carefully based on the rap, a shimmering finale arrives following the fabulous Enter the Mirror as a relaxed chillout lounge beauty for mild summer nights in fleeting melancholy is the longing: “Party on, party all night/ Party’s never over if the party’s in your head” and “And we talk regarding/ First kiss, to the abyss/ Hope they need a DJ somewhere in the followinglife“.
„It’s not over yet” Jonathan Higgs then sings, and you can definitely take that as an individual lesson for yourself: not giving this band the attention it deserves can only take revenge. Ultimately, your success story continues consistently – and at your own discretion, the quality curve points steeply upwards once more.
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