Review: Get to Heaven

“So you’re one of those annoying people that listen to albums from start to finish. That‘s so pretentious,” my brother exclaimed after catching a glimpse of my iTunes playlist. I wasn’t aware that not listening to a full album is a thing. Still, if there are only two or three listenable songs in an album, you must be listening to some pretty bad music. One hit wonders just aren’t my cup of tea. I like to follow evolution of an artist’s style, understand their train of thought; skipping to the title song just doesn’t cut it. The album that my brother noticed me sampling has captured my attention in its entirety and I have been listening to it non-stop, front to-back, every time I get a chance – it‘s Get to Heaven by Everything Everything.
I must say, bravo to this Manchester-based band for continuing to create invasive songs that dominate the soundtrack to my slumber. Everything Everything’s third album is an original blend of catchy tunes, tropical melodies, and deeply disturbing lyrics. “I‘m going to kill a stranger, so don‘t you be a stranger,” begs one line from the song entitled No Reptiles. In a sense that is reminiscent that song by The Smiths titled Ask, an upbeat tune that had the chorus, “If it‘s not love then it‘s the bomb that will bring us together.”
To The Blade starts tantalizingly slow and reveals itself to be an explosive and complex, yet surprisingly harmonious piece. Brainchild may be a tad hard to grasp upon the first listening, but like a fine wine, it gets better with time when given appreciation to its elaborate arrangements. Being a long-term fan of the Everything Everything’s lyrical content, the poetry to Spring/Summer/Winter/Dread were definitely there to please. The whistling on the title track, Get to Heaven, always invokes a sense of deja-vu within me — opening up a passage to archives of a collective human consciousness in which originally appealing melodies are stored and re-imagined anew as times roll on. Blast Doors showcases Higgs’s outstanding range of different singing influences that expand from rapping, to carrying a seriously high pitch tune.
While there are some definite highlights in Everything Everything’s Get To Heaven, the album as a whole flows naturally, and every composition — while being a stand-alone tune —brings new flavors, emotions, and thoughts to the proverbial table. Get To Heaven is a return to the band‘s clever and playful style witnessed in the first album, Man Alive, and carries on discussing the troubled present and post-apocalyptic future, introduced in Arc.


Solveiga Žibaitė
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