Is Everything Everything's Get to Heaven too quirky, or is it an album to be celebrated?

Is there much difference, in practical terms, between a USP and a gimmick?

Everything Everything had better hope there is – they’re three albums in now, and singer Jonathan Higgs’ continuing willingness to get his falsetto voice out at every opportunity is close to the tipping-point.

It’s quirky, and it makes EE sound distinct (even beyond their ongoing mash-up of angular indie guitar shapes, Talking Heads-y afrobeats and  grinding, clattering electronic glitter). But could you do a whole 45 minutes in one sitting?

As long as your teeth aren’t set too badly on edge, there’s plenty about Get To Heaven to recommend it. It’s melodically strong (Fortune 500 in particular is an earworm) and while it’s rather one-paced, there is a lot of light and shade in the arrangements of the likes of Spring/Sun/Winter/Dread and Blast Doors.

As an overall test of your system’s prowess, Get To Heaven rather ironically suffers from the ‘everything louder than everything else’ school of production, with dynamics being flattened to a constant in the quest for all the volume all the time.

More after the break

There’s a huge amount of character to be extracted from vocal in the midrange, though, and plenty of indie-disco bottom-end presence and punch to be revealed. And where separation and focus are concerned, Get To Heaven is as tricky a proposition as we’ve heard all year.


  • Duration 44m 56s
  • Standout track Fortune 500 – Meaty, beaty, big and bouncy, like New Order choc-full of legal highs

Buy Get to Heaven on CD from Amazon

Download Get to Heaven from Amazon

Buy Get to Heaven on vinyl from Amazon