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      Anything and Everything

      Everything Everything
      Mancunian four-piece Everything Everything are nothing if not interesting. Their music is the antithesis to formulaic; in fact listening to their stop-start, up and down dance pop can at times be exhausting. Background music this is not.


      With their first album Man Alive being nominated for the Mercury Prize, and its follow up Arc sounding as though it could also be a potential candidate, the band have earned plaudits for live shows and garnered plenty of attention.

      Humble and unassuming Bassist Jeremy Pritchard hasn’t been throwing TV’s out of hotel windows just yet though. Instead, he tells me that many of the lyrics from their songs are centred around recurring themes of self- deprecation and self-doubt, explaining:

      “I don’t write the lyrics, John (Higgs) does,
      but when writing there’s never just one solid idea, there’s always two or three ideas and how they respond to each other is where the song is. They’re mainly about the juxtaposition of seeing both the big picture and the little picture - always being aware of our position in the grand scheme of things”.

      Perhaps like many young bands starting out, they may have fallen into the teenage angst trap of over-analysing and over-doing things. With time they’ve found simple and less cryptic lyrics can just be as powerful and influential:

      “Music certainly influenced me when I was younger, it has a social-political effect. I listened to the Manic Street Preachers and Radiohead a lot, and they held cultural significance to me, definitely. I think with our first album Man Alive we were kind of uptight, and although I really like that record, for our second we tried to be less concerned with trying to throw as many ideas as we could into one space. We wanted to let things breathe a bit more. We’ve developed and matured kind of, and we have never completely changed direction, we just settled down a bit more on Arc, made things simple”.

      I can almost feel Pritchard wince at the thought of being described as an ‘indie white-boy band from Manchester’. With ambitious fusions of electronica and contemporary R&b identified in their music, I don’t suppose he’d be fond of being identified as a typical guitar strumming hipster either:

      “I’ve never been able to categorise us,although for the sake of ease, when asked we say ‘indie pop’ - that instantly describes us I guess. I mean we’re not a reggae or big jazz band, so indie does put us in the right ballpark, at least. Sort of. But the word has negative connotations and it now has nothing to do with the original meaning. People use that word to sell Smiths t shirts and jeans. Its a lifestyle, and it’s practically meaningless. We didn’t want to be just boys with guitars as then everyone expects you to sound a certain way, so when we first started out we really didn’t want that”.

      Hardly just guitar indie, laptop programming and processing feature heavily in the music of Everything Everything, no doubt stemming from a love for alt-rock and electronica:

      “I’m a huge Kraftwerk fan, and I guess the electronic sound in our music is my personal input. Although when I was young I only listened to the Beatles, The Beach boys, motown records and the best of Queen. When I got a bit older I widened my horizon though, with the likes of Radiohead - who people I thought were cool listened to”.

      Even though Pritchard does have a degree in popular music, being in a band has always been his main focus, and to his own admission he wouldn’t have been good at anything else, (the self deprecation creeps in once more):

      “I always wanted to be in a band, but didn’t know if I could do it - its difficult to sustain a career. We’re incredibly lucky we’ve managed to make a living, especially in today’s climate. We know a lot of bands who are fairly well known, but still have to go to work to pay the bills. So I feel lucky, but yeah, I did occasionally think about just writing about music; you know, the history and the origins, but I wouldn’t be as good as it”.

      He feels lucky now, but then again, who wouldn’t feel lucky having played the luxurious Kelly’s pub on the picturesque Smithdown Road? Prichard laughs, remembering fondly:

      “We were asked to do a student gig at the pub, I used to go all the time as I had a girlfriend in Liverpool. We were just starting out and played literally everywhere we could, so we went along and they were just not geared up, great pub but definitely not meant to have live music, Well at least not then anyway. We were put in the corner with one mic between us, and we were just too loud and people had to keep turning our amps down. We did have such a fun night but the gig went technically awful!”

      Every cloud though, every cloud...they’re now booked for Glastonbury and Leeds, have an extensive UK tour coming up in October and they’re going to be gracing Liverpool again for the second time in just two months for Sound City:

      “I love Liverpool, I’ve been to the festival a couple of times as a fan to see bands. I like urban festivals where you can hop from one venue to the next, you can walk into pretty much anything. We played it back in 2010 with Delphic and Egyptian Hip Hop - it was basically a Mancunian showcase at the Academy. I really enjoy the atmosphere the city has, so I’m looking forward to playing there again”.

      We’re looking forward to seeing it.

      ANNA KENNEDY ||

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