To the Blade is written as an empathetic remark towards someone close to a third person who has committed a horrendous act of terrorism. This is a rather peculiar idea that’s carried out to an immaculate extent, featuring staple Everything Everything lyricism saturated with influences and allusions to events; for example, the Alan Henning beheading by the Islamic State of Iraq. Instrumentally, a noteworthy aspect of the cut is definitely the frantically energetic hook, as well as the amazing and frenzied vocal performance that complements it so perfectly. The rest of the production and arranging decisions are also large complements that cohesively and fittingly complete the song.

10.

Distant Past takes a very recurring theme in Everything Everything lyrics (evolution) and stretches it to a fantastic, and very visual, extent. It’s an incredibly pessimistic train of thought, where Jonathan Higgs explores how humans haven’t changed their ways at all, despite all of our “progress”. Audibly, this track contains incredibly fun performances, maximalist production, and creative arrangements — all of which come together to make an incredibly moving and charismatic track which greatly contrasts the bleak lyrical content.

10.

Get to Heaven: the topic of desensitisation is heart-wrenchingly explored in this track, where the normalisation of violence has —for instance— led people to be able to completely ignore the self-immolation of an old man. Moreover, here, heaven represents a silver lining and a longing for something better. This, however, is not necessarily optimistic as it implies a harmful individualism and ignorance of one’s surroundings — getting to the point where the protagonist seems completely oblivious to their own death, since “vultures land” but their concerns remain elsewhere. Instrumentally, this is another fantastic composition with wonderful production elements. Additionally, Jonathan Higgs once again proves to have an excellent ability to move the listener — and when every other performance is also incredibly fun, only good things can happen. That being said though, the chorus personally comes across as overly peppy in a way that it fails to contrast all that well with the lyrics (as other tracks do, superiorly).

High 8.

Regret: Lyrically, this cut explores a very powerful regret, to the point of losing hope in one’s own humanity. These intense feelings are also linked to the ISIS-related events that occurred in 2014, a major inspiration for the band at the time of recording the record. This instrumental boasts incredible and recurring vocal harmonies, a great hook, and a powerful bass tone that adds a considerable deal of groove and energy throughout the track.

Low-Mid 9.

Spring / Sun / Winter / Dread is a wonderfully pessimistic, cynical and angry lyrical effort about becoming all you hate with time. It details both how time can cripple the individual, and change nothing in terms of larger-scale dynamics; asking the hypothetical questions: “will nothing change?” and “will we just repeat the past forever?”. Through great lyricism, these ideas are conveyed more than successfully. Audibly, this is a wholly immaculate track that brings the already fantastic lyrics to life as they are turned into a danceable and pessimistic crisis in the form of a euphoric epiphany. The structure is also commendable since the breakdown towards the end of the song is absolutely mind-bogglingly uplifting and downcast at the same time.

10.

The Wheel (Is Turning Now) uses the image of a right-wing politician/future dictator in order to critique abhorrent ideals, political tactics and deceit. It also explores how admitting that humanity has made progress can cause anxiety about what we stand to lose, and how fast we can lose it. Vocal-wise, Jonathan Higgs goes absolutely and incredibly crazy against a fantastically produced and performed instrumental. I am honestly moved beyond belief by all of this energy. However, the outro does, unfortunately, lose me just a tad; as it’s slightly drawn out, and throws the inertia built throughout the song out the window — to some degree, it’s still rather loveable though somewhat misplaced.

Low 9.

Fortune 500 is a beautifully executed lyrical detailing of a moment of regret, shock, and realisation inside the head of a terrorist. Additionally, it explores the deceit and brainwashing that led to their lack of agency through a narration: the metaphoric event of “trepanning” the Queen of England. Instrumentally, the smoother, mostly falsetto vocals are an applaudable change of pace; moreover, the synth-brass/strings are also excellent additions to this more laid-back cut within the album.

Mid 9.

Blast Doors is an emotional climax where Jonathan Higgs shows his overflowing anger towards modern problems, while also criticising that they’re the same problems we’ve always had — because we’re essentially still wild animals, but we (and our problems) are just modernised. Themes discussed include stupidity and ignorance; lack of privacy in the modern age; lucrative and deceitful politics; pollution; disappointment in the idea that the future is now; and an inability to change despite having time, because of vice and leisure. On top of this, the very fast-paced approach to the track fits the lyrics perfectly; largely, the whole song is an overall awe-inspiring moment of unfiltered vigour and resentment. If anything, it’s saturated in musical and lyrical ideas — although this is not a negative thing.

Mid 9.

Zero Pharaoh is an absolutely amazingly carried-out lyrical cut. It takes previous themes —of a vicious repetition of the past— and explores them in an incredibly creative narrative. The narrator engages in the ironic creation of a revolution due to his hate of the *Pharaoh’s* power and vice, which in turn gives him power. Eventually, the “gimme the gun” lines begin the narrator’s moment of descent as they betray their ideals for the seductive power of money and authority —  concluded by the last hard-hitting line. Narratively and structurally, this is definitely one of the most impactful tracks on the record. Furthermore, the performances are also near-immaculate throughout, and the harmonised/layered vocal performances at the end shine beautifully as well.

High 9.

No Reptiles speaks about a feeling of alienation and helpless disassociation from society. It’s also a stark and fatigued response to the reptilian politician conspiracy theories. Sadly, the way these ambitious themes are explored (the “soft boiled egg” premise, and the “fat child in a pushchair” lines) are needlessly fatphobic and hurt the message quite a bit. Instrumentally though, it’s truly near-immaculate due to the intimate production and wholehearted performances within a more low-energy and enveloping cut. Compositionally and structurally, it’s also an undeniable masterpiece.

High 8.

Warm Healer is the beautifully familiar, signature Everything Everything, silver-lining, positive-note-ending album closer (for the non-deluxe version) — or that’s what it would seem like until it’s not all that positive. It’s wonderfully conclusive, and it doesn’t leave that much of a sweet taste in one’s mouth. The chorus seems to be in the second person, addressing the state of the world itself, and trying to mend the loving relationship between oneself and the idea of living. Also, there are allusions to drug use in the medicine man lyric — drugs that have since become futile, acting as another nod to the topic of desensitisation. The instrumental is hypnotic, meditative, and (once again) near-perfect in every possible aspect. A noteworthy element worth singling out is the excellent chemistry between Jonathan Higgs’ superb vocal performance and the impressive lyrics.

Mid-High 9.

We Sleep in Pairs is similar to an earlier Everything Everything song, “Duet”, where there is a loving attempt to carry on during a dystopian time. This track, however, is considerably more cryptic —and arguably pessimistic— with very inviting misery between the lines. It contains one of the strongest vocal performances, but also one of the weakest instrumentals; from a compositional and mixing standpoint that is. It’s still great, but compared with the rest of the record, it does very slightly bore as well.

High 8.

Hapsburg Lippp uses absolutely incredible lyricism and fast-paced rhymes to keep up the impressive consistency in themes throughout the album (even entering the deluxe section). This time, it uses the incestuous Hapsburg family to critique olden and modern higher classes, and even suggest their decapitation a la french revolution — while keeping it incredibly fun somehow; namely, through an absolutely enchanting and energetic instrumental. The synth-brass line throughout the song is quite euphoric, and the bridge is composed and placed perfectly due to its stark though fitting contrast. My only gripe with it is how it sounds ever-so-slightly underproduced and demo-ish as it’s not a cut on the main tracklist.

Mid 9.

President Heartbeat is yet another track that keeps up a commendable thematic flow. This time, these themes are explored with a fine, well-intentioned, and everyday samaritan as the subject of the cut. However, there are blatant overtones of hurt, due to the uselessness of good intentions when they’re not shared by those who are more powerful — which influences how aggressively and rapidly the narrator wants change. This instrumental, especially the hook, is absolutely perfect, boasting impressive chemistry with the lyrics. Moreover, every single arrangement is able to add to the high-energy experience that this track is. Also, the vocal harmonies are some of the most well put together on the record and are a large contributor to my enjoyment of the song.

10.

Brainchild is a bit of a detour in themes, but that’s to be expected when in the deluxe portion of the record and it won’t affect scoring. This song deals with how an overly controlling over-thinker may be overwhelmed with the state of the world — which then leads to a failure to maintain loving relationships. The falsetto performance and vocal harmonies on the verses are a highlight of the track. Additionally, the synth bass and off-kilter guitar are both impeccably arranged.

Low-Mid 9.

Yuppie Supper used to be a track about self-immolation but it was turned into a mostly instrumental palette cleanser — a great one at that. It’s dreamy, catchy, and focused; as well as terrifically produced.

Mid 9.

Only As Good As My God is quite an all-out critique of police brutality and societal neglect. It’s also one of the most fun-though-harrowing, amazing and focused lyrical cuts in the record — and a fantastic note to end on (although not really a closer in the traditional sense of the word). Everything about this track is absolutely stunning: from the performances (especially vocal) to the aggressive composition, and the noteworthy guitar work. It’s also worth mentioning that this is probably one of —if not the most— catchy of the entire tracklist. The production might not be as fleshed-out as in other tracks, especially on the main record, although this barely makes it less enjoyable.

High 9.