mvm.

Two words come to mind whenever I listen to an Everything Everything album. Beautiful and provocative.

As I sit here writing this up – feeling somewhat inspired as their eclectic fourth album is spinning in the background behind me – I felt like it was the opportune moment to write a few words on how influential Everything Everything have been for me as my music taste has evolved and moulded over time.

Big-tune indie brilliance, Everything Everything are a rare offering for a band that does not fit within the barometers of genres, type or comparison.

Wonderment in colour, Everything Everything create thought-provoking and conceptual music that always takes me away to a somewhat mythical and mysterious world – even though they are a few and far-between an actual concept album. Especially for me, I have to play their works in full. From the first track of often fast soothe-sayer indie control to the harrowing and slow-tuned vibes of the last, their music is always accompanied with a partner side-by-side.

This has been consistent throughout their careers in the industry, too.

From when I picked up their debut of Man Alive way back in 2010 on the shelves of the now run-down HMV store in my home town, to sticking with the bands’ creativity with Arc in 2013. Even when the incessant turn-around of popular third release Get To Heaven and A Fever Dream came out with a mere four years apart, I was still happily enthralled and transfixed with their music as I was as a young boy when I first played them close to 12 years ago.

The more and more I talk about these guys, the more I begin to realise that they are easily one of my favourite bands to ever surface in the music industry. I feel somewhat dirty saying that, and empathise for the other legendary acts in the past who may feel cheated on for this, but I cannot deny the truth.

True marvels and music connoisseurs, I recommend giving them a listen – especially with a hot cup of cocoa on a cool winters’ evening.