Part of the so-called ‘new complexity’ movement of bands that includes the likes of early Foals, alt-J and Wild Beasts, Everything Everything have nevertheless been ploughing their own furrow since they burst onto the scene back in the latter part of the last decade. Makers of a distinctively British sound that fuses 90s dance with guitars, synths and drums in creating a crisp, often forceful, sometimes subtle noise, their creativity and adventurism shows little bounds. Whereas their previous album, Get To Heaven, was an almost invariably danceable affair, where all the tracks were performed live, in A Fever Dream, they have decided to be less vigilant about that aspect: instead preferring to let the music speak more for itself, and to let instincts take over. This was also apparently a survival mechanism, as it seems Get To Heaven seriously took it out of the band, and led to some potentially long-term inter-relationship problems.

However, with the band seeking to work quicker and less analytically in arriving at musical conclusions, the result is a mixed bag, where quality control has seemingly weakened in pursuit of a heightened experimental and adventurous spirit that has lead them down the odd cul-de-sac or two. Not that you would know that via the outstanding trio of songs that begin the album. ‘Night of the Long Knives’, ‘Can’t Do’, and ‘Desire’ all work as high energy extensions of Get To Heaven, ideas a-plenty in the mix, the songs carrying that trademark complexity, yet somehow working as cogent pieces. Surprisingly, ‘Can’t Do’ apparently emanated from writer’s block (“I can’t do the thing that you want“). However, the song soon morphed into a celebration of difference and fitting in, with singer Jonathan Higgs basically just wanting to get down to the sounds (“I’m loving the bass, I’m loving the drums“) thanks to its euphoric mix of hard house-style stabbing keys, stuttering drums, a sinuous bassline, and massed vocals.

As with the equally dance floor friendly ‘Desire’, it’s also here that Higgs’ lyrics can be read as general observations, as well as being particular to himself. Conversely, the lead track ‘Night of the Long Knives’ is overtly political, a warning shot about the insidious rise of fascism, and an extension of the highly politicised, if event specific lyrics, that greatly informed Get To Heaven.

The pace then drops noticeably, beginning with the Radiohead (a big influence on the band) vibes of ‘Big Game’, while the experimental levels increase. In this case, it’s the unexpected big duel guitars that break out mid-song, before it reverts to its more chilled beginnings, and fades out rather limply. And the excellent, if rather lyrically moody, ‘Good Shot, Good Soldier’ somehow sounds like an amalgam of 80s new wave synth, 90s dance euphoria and 21st century post-punk indie. Less successful are ‘Run The Numbers’, a quiet-loud affair, that is as much odd as it is interesting, a glam undertow in places, sitting next to more unexpected guitar lines, and sparkling synths back-in-the-mix. For once, two or more ideas don’t gel in that typical Everything Everything approach. Nor does this experimental, less painstakingly arranged approach, work well on the drowsy, hallucinogenic, backward vocal-pitted, and aimless ‘Put Me Together’, or the ambient leaning title track. This is despite the overarching theme of the album, where Higgs questions what the hell is going on around him: “I hate the neighbours, they hate me too / The fear and the fury, make me feel good… Is it all but a bad dream? This distorted reality?“

Indeed, the super short (by their standards) ‘New Deep’ features little more than a faux-classical musicality with the only words being Higgs’ repeated refrain: “Is there something wrong with all of this, or is there something wrong with me?“

Perhaps there is. Perhaps there isn’t. At least Higgs is man enough to admit his less than sure footedness when it comes to analysing the socio-political landscape around him. Perversely, it’s this questioning spirit that often docks perfectly with the band’s experimental and adventurous spirit. As Higgs sings on closer ‘White Whale’: “Never tell me that we can’t go further“. It is hard to imagine Everything Everything ever not seriously trying, such is their devotion to the art of ‘intelligent’ and ‘interesting’ rock music, even if they go off-piste a fair few times on A Fever Dream. But when it works, their artsy predisposition is accessible and is why they have developed a deep, sometimes fanatical following.

Jeff Hemmings

Website: www.everything-everything.co.uk
Facebook: www.facebook.com/EverythingEverythinguk
Twitter: www.twitter.com/e_e_