Everything Everything’s 10 Best So Far

Today marks the 10th birthday of Manchester art-pop lads Everything Everything. Fresh off the back of their latest album ‘A Fever Dream’ – let’s have a look at their 10 best tracks so far. (In alphabetical order)

Blast Doors

With it’s almost rapped verses and with great harmonies on the chorus, Blast Doors is EE running at full speed.

Cough Cough

Featuring some of the best drums in any song ever, Cough Cough is the pounding first track on Arc.


The second single taken from ‘A Fever Dream’ proves that EE can still make catchy choruses with a sense of urgency about them after a decade.

Distant Past

The lead single from 3rd album Get to Heaven, Distant Past was a vibrant insight into what the following album would bring. What a banger.


Duet shows off the versatility of Everything Everything. An emotional, developing track backed with strings was one of the standouts on Arc.

Final Form

Final Form is far the band’s most emotional track, really showing off Jonothan Higgs’ vocals.

My Kz, Ur Bf

An example of what EE do best, My Kz is a weird one but still has an amazingly infectious melody.

No Reptiles

“It’s alright to feel like a fat child in a pushchair old enough to run, old enough to fire a gun.”

Photoshop Handsome

Photoshop Handsome was the breakout hit for Everything Everything, it’s witty lyrics and 8-bit sounding synths still standing up to their recent releases.


Another early single from Man Alive, Schoolin stands out as one of the strongest from that album, especially with its annoyingly catchy whistle.

Listen to everything by Everything Everything below:


16/6/17 New Release Roundup


Wolf Alice – Yuk Foo: This is Wolf Alice’s first single from their upcoming 2nd album ‘Visions of A Life’ and they definitely aren’t holding back upon their return. The track is furious straight out of the gates, with Ellie Rowsell’s vocal performance being incredibly strong. 90%

Everything Everything – Can’t Do: Everything Everything return with their first single since last year’s one-off track ‘I Believe It Now’ and unsurprisingly it’s a banger. Dancey synths back the catchy but angsty chorus of “Help me, I can’t do the thing you want” and with the repetitive hook of ‘It’s up to me’ this song will not leave your head. Good. 92%

The Killers – The Man: ‘The Man’ is the Killers’ first new track since 2013 and it’s just fine. A disco-pop track that probably wouldn’t get much attention if it wasn’t by The Killers. 60%

Declan McKenna – Humongous: Declan McKenna continues his streak of releasing great singles with ‘Humongous’. The track starts off as an emotional guitar ballad before exploding towards the end. 95%

Queens Of The Stone Age – The Way You Used To Do: This new Mark Ronson produced single is standard QOTSA stuff, but that isn’t a bad thing. 75%

Three Laws – Siren Song: ‘Siren Song’ is a well produced, spacious electro-pop ballad that is still somehow really catchy despite being slow and melancholy. Nice vocals too. 75% 


Royal Blood – How Did We Get So Dark?: This is the second album from rock duo Royal Blood, and it’s pretty much business as usual. There are a few stand out tracks like the brilliant ‘Lights Out’ that have more energy and power than cuts from their debut, but the majority of the songs sound very safe and like they could knock each of them up without much thought. 60%                                                                                                          Best 3: Lights Out, Hook Line & Sinker, Don’t Tell

Fleet Foxes – Crack-Up: Fleet Foxes return with their first album since 2011, and it was well worth the wait. Opening track ‘I Am All That I Need/ Arroyo Seco/ Thumbprint Scar’ starts off drearily and slow before bursting into a beautiful, layered track. That level of production is constantly there throughout the album, with the vocals sounding exceptionally beautiful on tracks like ‘Kept Woman’. My favourite track on the album is ‘Third of May/ Odaigahara’, the track sounds really big and spacious without being too boring. Many of the tracks are well over 6 minutes long but at no point does the LP drag on or get dull. Overall a beautiful, well produced record. 95%                                             Best 3: I Am All That I Need/ Arroyo Seco/ Thumbprint Scar, Kept Woman, Third of May, Odaigahara

Lorde – Melodrama: The long awaited follow-up to Lorde’s debut album ‘Pure Heroine’ does not disappoint. Brilliant lead single ‘Green Light’ kicks off the album, and the quality of songwriting and performance is consistently up there throughout. ‘Writer in The Dark’ is another album highlight, being a piano ballad with great lyrics, a vocal performance that sounds genuine and a slightly off-kilter vocal production and that make it stand out against most similar tracks out today. 95%                                              Best 3: Green Light, Sober, Writer In The Dark


Interview with Everything Everything’s Jeremy Pritchard.

Everything Everything’s Glastonbury performance(s) topped my list of live performances from 2015. I spoke to him about the band’s year and how they felt it went.

“We’re still definitely in Get To Heaven mode.” he said, when I asked him how I thought the tour for their third album had gone. ” We’ve been touring it since April, starting off by playing smaller shows on the quiet so we could learn how to play the songs ourselves, and ever since then everything we’ve done has been a kind of enjoyable step upwards.”

“There were a lot of things that I thought we wouldn’t enjoy as much as last time round, because it wasn’t new to us, things like touring Australia. Where as in the event we did enjoy it just as much, it was all bigger and better this time, with Glastonbury being a great illustration of that.”

He had this to say when I asked him how Glastonbury was: “We’ve played Glastonbury a lot, I’ve been there about ten times as a punter and as a player, but this was the first time that we felt that we really got our teeth into it.”

“Similar to last time with our previous album Arc, we played two shows; one on a larger stage (that being the other stage) and another on a smaller one, Williams Green. The Other stage was fantastic, it was brilliant to play that stage as it was a larger platform than we had done in the past at a festival, and equally it was great to play the kind of secret Williams Green show for the hardcore. Both shows were really good in different ways, with the smaller show being amazingly emotional.”

“I got to see Super Furry Animals, Hot Chip and Caribou, who were all really good.” was his response when I asked him if he managed to see any other acts whilst at the festival.

Asking Jeremy about the lighting and visuals for the show, this is what he said: “The general concept was drawn together by a lighting designer we’ve known for years, and he said he wanted to be more like a light-art installation rather than a rock and roll show, and we quite enjoyed that idea. “We’re really proud of it now.”

I asked Jeremy if there were any favourites to play live from their new album; “I think Distant Past belongs in that arena really. I don’t think it’s our strongest piece of work by any means, but you can’t deny it when we play it live, I think we found it hard not to play it last every single show because it leaves us with nowhere to go.”

“No Reptiles is another one, because we love the song and we knew how personal and raw it was, and how it was one of the songs that seemed to be essential Everything Everything, or even essential Jonathan Higgs. We had no doubts about how we felt about that song but what has been amazing is how other people seemed to have understood it and got on board with it so instantly. That was really in evidence at that Williams Green show actually.”

“It’s been a relief to have that song to use that’s by no means ‘verse, chorus’ type, you know it’s got no real concerns when it comes to radio, or pop appeal or anything like that, but it’s actually connected with people in a way more so than even some of our songs that do work in that mould. It was great to be able to put that out as a single, we knew that it was going to do fuck all in radio, we never expected otherwise but actually it did a little bit better than we thought it would do.  It was a great statement for us to finally have a single out that was as characterful as that.”


EE @ Glastonbury Art by Danni Sewell.