Jonathan Higgs remains fascinated by the musical elements that still inform his own band’s style: the thrill of novelty, the power of repetition, and the allure of narratives that defy easy resolution.
Continue reading at The Line of Best Fit
Jonathan Higgs remains fascinated by the musical elements that still inform his own band’s style: the thrill of novelty, the power of repetition, and the allure of narratives that defy easy resolution.
Continue reading at The Line of Best Fit
In the seven years since Everything Everything hatched their jabbering debut Man Alive, a record that seemed destined to be filed alongside Fenech Soler and Ou Est Le Swimming Pool as curios of the period, a lot has changed. Its follow-up Arc put down a marker that they could do more than simply yelp and writhe, binding the band’s more staccato movements into something positively elegant. By the time we reached 2015’s Get to Heaven, the band were unstoppable; like an athlete at the apex of their game, their genius felt effortless, performatively cut through with cute feints and bravado. Returning with fourth album A Fever Dream, how could the Manchester four-piece possibly fail to score?
Continue reading at Drunken Werewolf