Three albums in. It's quite often a strange territory for a band to find themselves in. Do we expect a frighteningly hair-raising change in direction. Or will they opt to play it safe drawing on the same influences that've already founded them thus far. When Distant Past came rattling out of the gates with its chest-thumping basslines and hands-in-the-air raving choruses, it was evidently going to be a mixture of both. Whilst veering on futuristic landscapes, Jonathan Higgs' distinct falsetto and the band's neatly tied rhythms mark familiar grounds for long serving fans. Everything Everything are an evolving entity though. If something's going to get done, it's all in or nothing. And that means cranking up the energy and drive for an exhilarating journey ahead.

From To The Blade's scatterbrain synth intro that quickly dissipates in to a plummeting guitar savage beast of a track to the funk laden rhythms on title song Get To Heaven, Everything Everything seem to float in this lofty aural wonderland. A perfect knack for crafting paracosm landscapes within their music, this latest effort is bursting with a concoction of treats around each and every corner. Spring / Sun / Winter / Dread sees Higgs switch up his lyrical delivery to match its jaunty synths and basslines, a track that continues with the bands fascination with mankind and evolution. Meanwhile Fortune 500 delves in to darker formations with its relentlessly marching percussion and swirling vocal layers.



On the whole, 'Get To Heaven' is a bold new step in to the unknown - a transgressive leap in to the unconventional song structure if you will, effortlessly demonstrated on Blast Doors and No Reptiles. Both track's expertly pieced together through the bands overzealous performing and Higgs' lightening fast falsetto, even if the lyrical content verges on the somewhat strange; "oh baby, it's alright to feel like a fat child in a pushchair".

Moving on from 2013's 'Arc', the band's latest LP is as kaleidoscopic as its Andrew Archer artwork would suggest. Whilst it may sound a little madcap upon first listen, stay with it, because as your involvement increases, so does it shining pop-perfected brilliance. You just have to take album closer Warm Healer for a prime example. Set amongst its funky percussive intro, sodden in an expansive soundscape, not once in its 6 minute length does it deviate from utterly soul cleansing sublimity; which I guess in turn sums up the record in its entirety.



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