New songs rapidly become familiar friends from Everything Everything. The four-piece enter summer with their sixth work of art; their power to transform themes into anthems intact. A trend of bands producing dance floor beats fills the airwaves currently, nurturing the want to move, untethered from the spot. Not able to tour 2020's Re-Animator, an artistic restlessness channelled into mind-blowing melodies and absurd tales driving the relationship between humans and technology as far as they dare.
Imagine being trapped in a Vapourwave Mad Max world? Jon Higg's initial trail of thought was a concept album of such. Kevin stars in different scenes as EE changes the set behind him. Pizza Boy also makes a cameo. Pizza Boy is a little piece of us all; every character is. It turned out that each song was a mini concept of its own influenced by extremes of ancient wisdom, literate beauty and modern horror, shares bassist Jeremy Pritchard.
Big numbers ride the waves; Bad Friday is an energised calypso while Shark Week embraces the force of the keys like The Goonie's Bone Organ. Tribalistic Hex entices the uninfected population to join the cause. However, within the best damn theme park housed in a shopping mall there's rebellion; a game of survival in Metroland is Burning. 2000's indie revival Kevin's Car sees his metal vessel turns into shelter. When he appears in the tracks, Kevin is asking for a friend, unveiling those unspoken words in the light of day.
Raw Data Feels extends the band's fascination with AI software: an element of control removed but plenty of heart, as invited by drummer Mike Spearman and album closer Software Greatman. Glitchy, Nintendo keys dust Teletype with expected beautiful vocals; Art-pop, My Computer, surprises with sound twists from cloud to sun. It is a darling song penned to a machine: "You're in love with the future." More robot love than Robot Rock.
The record lifts the soul to a higher plane, or at the very least, the highs of a banging nightclub podium: Cut UP! blends the pair of German attitude with an 80s smoothness of Lionel Ritchie and the drop of the huge chorus and boppy synths. I Want A Love Like This launches a vintage PC game into a field rave filled with floresant Smiley tees. They excell; this record is some of their best work, although that happens with every release we collect.
Echoes of Re-Animator tightly knit the two albums together, as if RDF's sound is an explorative, fun-filled extension. Pizza Boy borrows beats from The Actor, with handclaps and a zesty playfulness, telling the aftereffect of the human race shunning interaction; a zombified delivery guy is dead behind the eyes: "Are you coming to life? Do you want me to look inside?" A new song at a gig can fall flat, not on Ev's recent UK tour. Not this, bottling the euphoric spirit of DJ Falcon's and Thomas Bangalter's Together.
Re-An's Moonlight reflects in bewitches ballad the tortured Leviathan as it plays on the haze of a VH1 and the familiar aroma of gymnasium wood at Prom: "I could be alone, but I want to be together if it's ok with you." Sharp evolutions and longing progression convert into sirens of pain from loving the enemy. Born Under A Meteor and curveball, sweet and honest Jennifer- where heart-eyed harmonies return- are the most retrofied Country memoirs of the work.
Here is the first album produced by the boys. Guitarist Alex Robbershaw takes the lead with his modular synth tinkerings captured at the back of Foals' tour bus, reviving the chaos. Raw Data Feel probes the truth; how do we know anymore? The debate of E'thing's lyrics- profound or teasing- rears its head; it's ultimately let go, just to be. Their record is gorgeous, wildly fresh. EE tried it again, tried it another way; It's time for fun.