Everything Everything

Across three albums, immense acclaim and intense adoration, the sound of Everything Everything has remained a volatile beast; a musical bucking bronco, their albums maximalist, frenetic, art-pop juxtapositions of R’n’B and melancholia and Afrobeat, of synths, guitars, falsetto. Critics have written of the frenzy of it, of the sheer sublime sweet sensory overload of it all.

Their fourth album, A Fever Dream, is a quite different prospect: a calibration of chaos and control, the result of a curious desire for consistency. As guitarist Alex Robertshaw puts it: “Our records have been many styles rubbing up against each other, and for the first time I wanted to make a record that was cohesive sonically.”