Updated: Jun 20, 2020
So we find ourselves in a place where the future of the arts is desperately uncertain, but just like old times, it’s not lacked in hope or the ability to find a detour around the problem; this comes with the territory of creative types. Music has pressed on with an abundance of new releases either here or on the way, and they’re mega ones at that: Strokes, GaGa, Fontaines, the list goes on. Offering a slither of hope, therapy even, to listeners, what we’ve seen is the promotion that has changed. Gone are the sleek, polished TV interviews, as we’ve witnessed an increase of the Instagram Live chat. Seeing artists in their natural habitat, entirely relaxed, more often than not with a tipple in hand, you can ask them any burning questions directly and graciously receive their answer. There has also been a rise in YouTube sessions with the treat of seeing global DJs, for example, lead sessions from their poster laden spare rooms. Will this trend and a feeling of connectivity continue? With any luck.
The production of promo videos has also needed adaption; if you’re looking for masters of this, head in the direction of Everything Everything. Advantageously, the band is experienced in animation and positively uses this to their strength. It may not be what they intended for their new releases, but what they have created is a neat trilogy where each piece holds individuality but also manages to be a cohesive package. All directed by lead singer Jonathan Higgs, Birdsong, exploring our connection with time and nature, came along first. Then we were thrilled to meet creature Fatburg who was grossly cute as he overtook the city. The two works stirred up bubbling anticipation as their devoted fans waited eagerly for the arrival of Planets.
Themes of other worlds and nature continue as we are introduced to a sweet puppet in the form of a little chimpanzee. Heartbreakingly, he does hold a tinge of sadness in his eyes, as we find out that he is questioning his place in the world, to which a great many of us can empathise. He starts singing the song, longing to share love and accept value. Our hero seems happiest when he is amongst the luscious nature, but as he overthinks and worries about unanswered and big questions that the universe cannot explain, we see him have dark moments of contemplation about his future. Near the end, the visuals bear resemblance to The Maccabees' Pelican, which can only be a good thing as our protagonist imagines his version of space that has an unlimited amount of bananas and other planets. Starting to shake, he loses control, but I get the feeling that he is going to be just fine.
Planets is an unusual piece of joy and brilliance, a work of art, and a contrast to the other two that have come before. The synths reflect another galaxy, and the rhythms evolve to a killer section where the song shifts and plays host to a 70’s ambience. Lyrically, it expresses the unshakable feeling of wanting acceptance, to feel worthy, and ultimately loved. The words “With Frat boys telling me I got no business sitting in business sitting in business class,” a reminder that it may be at a younger age where we have these emotions more. However, eventually, we do find ourselves, become comfortable, and own confidence. August 21st will soon be upon us, where we can cherish new album Re-Animator from Everything Everything, including the three released tracks that have caused much intrigue and delight.
Article by Beverley Knight