Tuesday, July 14th, 2015

Everything Everything – Regret

Band’s name refers to the range of scores we give them…


Iain Mew: I’ve always quite liked Everything Everything, but this is something new. The emotional intensity is like talking about your problems to a friend who is always reassuringly snarky and together, and having them start crying in the middle of the conversation. Like, here’s Everything Everything yelping and jerking and rhyming human/undo man/automaton and all is normal and fun and heading for the usual prog freak out, but then they form it instead into this gorgeous loping chorus, an all-enveloping wave of distress and sympathy, and suddenly it’s perfect and retrospectively the only possible way for it to make sense. Once they somehow manage to extend that wave while quoting their own name, it feels like the emotional breakthrough has been building for more than just a song.

Scott Mildenhall: Immediate points for the seamless deployment of their own name into the lyrics, like a subtler Doop. Everything Everything tend to work best when their defining features are safely stored inside a palatable pop song, and that’s what happens here. Angular edges are wielded as something punchy, yet consistent through a smooth whole; even the lyrical basis of doing something really terrible comes through filtered to the point of potential universality. The shouts are echoes in the mind, and the chorus is the masochistic mocking it hands itself upon hindsight.

Patrick St. Michel: I keep thinking they’ll… ahem… regret not trying harder than every other band in the NME, but then I hear the Monty Python-esque chanting of the title, the goofy laugh midway through, and the lead signer trying to hit a high note and think maybe they’d be better off phoning it in more.

Micha Cavaseno: Forty bands in the last 15 years have made identical songs to this bit of “SPIN MAG BUZZ BAND CIRCA ’05” and I’ll be damned if I be made to care about this so far into the future.

Ramzi Awn: “Regret” is of a different time — so much so that it doesn’t quite register today. Still, textbook rock is seldom handled so expertly. In actuality, I did imagine it in a different way.

Thomas Inskeep: I have regret that I spent 3:23, repeatedly, listening to this “quirky” UK take on American power-pop. Actively obnoxious.

Alfred Soto: I don’t like the voice, so this odd amalgam of Fastball and the Four Tops sounds received to my ears.

Nina Lea Oishi: The lyrics are rather wooden, and the chorus is unmemorable (art-rock enough to be “art-rock” but not art-rock enough to be actually cool). What is cool, however, is the “regret, regret” throughout the verses, like two twin thumps of thumps of unshakable remorse, a mini rock-opera that somehow slipped in, rad fist pumps in an otherwise “eh” song.

Brad Shoup: We got so caught up in Melanie Fiona’s reggae phase, and here comes Everything Everything with a little boogaloo! Jonathan Higgs touches a lot of lines like he’s mewling on the bathroom floor, retching out the last of a fit. There’s laughter to keep from yelling, too — unlike a similarly titled song from Ben Folds Five, where the band has to work its way to a a state of shock, Everything Everything is working this shit out on the floor.

Danilo Bortoli: A prog-pop band talking about regret. Can this get any more meta?

Reader average: [8.33] (3 votes)

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One Response to “Everything Everything – Regret”

  1. This is by far the weakest song on Get To Heaven and I have no idea why they chose it as a second single (probably because it’s one of the few standard verse-chorus songs on the album but that’s all I got.)
    GTH is honestly on another level though, so it’s still good.