BRILLIANT THINGS
- They’re using actual cough noises as percussion.
- MAXIMALISM TO THE MAX.
- The fact that this is them “being more accessible.” (Not that it was necessary - I joined thousands of people at Latitude last year bellowing out every knotty little word on Man Alive.)
- THE FURY IS SO PALPABLE.
- “Yeah? So? Uh. Wait a second.”
- I think Jonathan Everything must have leaky windows, but whereas on “MY KZ YR BF” he had romance-thwarters crawling through the winders, now it’s something more pernicious and socially deadly.
- “I’m coming alive/ I’m happening now” - EVEN THOUGH THEIR DEBUT ALBUM WAS CALLED MAN ALIVE. Maybe it’s possible to posit that this song might have something to do with a response to the riots - and perhaps most people wouldn’t have thought it’d be Everything Everything to write the best and most biting song about such a subject, even though their debut album dealt with many a thorny social issue as well as the human relationship quotient. And perhaps they aren’t singing from a personal perspective here, but instead, making a comment about how the riots reawakened a perhaps previously dead political streak in “people”. Perhaps!
- The glorious way everything goes slo-mo around 1:00.
- For some reason, YouTube/Everything Everything are inviting me to purchase the soundtrack to the “amazing” new Keith Lemon film. I imagine this film to be highly non-amazing, and enjoy the notion that this might be a fun practical joke. (Though it’s probably something to do with Sony/Vevo.)
- There is some brilliant sarcasm in Jonathan’s voice when he sings “It’s okay if we’re still getting paid.”
- “No more solace in arrears” is in high contest for being my favourite single-line lyric of the year.
- I’m chasing that amazing bizzy little synth at roughly 2:00 around the room.
- I love the way they swallow the blood from those tubes, it’s being pumped straight into their mouths, direct to Everything Everything’s most vital organ.
- The lyric, “And that eureka moment hits you like a cop car” surely illustrates what it is like to be in Everything Everything, streaking across a street of inspiration like Eddie Murphy in Bowfinger but letting yourself get hit by all the cars and receiving divine inspiration from each one. Or maybe it’s about police brutality opening your eyes to the wrongs of the werld, WHO KNOWS
- The little horn noise at the end. “Pip pip”
