The Canadian art-rockers are bigger, bolder and more fearful of the future than ever on their colossal fifth album.
The torrent of content we absorb on a daily basis is a topic ripe for art that has been largely been under-explored in music thus far, but Arcade Fire don't do it in sombre and morbid fashion, Everything Now being their most upbeat, joyful album to date.
As brainwashing goes, it’s genius—and as a piece of art, Everything Now is not only worthwhile but rather brilliant.
Like Everything Now‘s subject matter, Arcade Fire gets a bit excessive — yet their fearlessness has resulted in some of the most ambitious music of their career.
It’s a record that makes maximum yield from competing tensions: old world traditions and new world technology; limitless leisure and endless angst; despair and hope; simple tunes and complex emotions.
Everything Now is at once eclectic and cohesive, whimsical and poignant, clever and smug, and utterly compassionate, and while its satire and willingness to tackle the big issues is what first catches the eye, it’s this compassion and warmth which stays with the listener long after the final notes are played.
It’s another big-hearted party album for the end of the world – in the spirit, if not the style, of Gorillaz’s Humanz – and restates Arcade Fire’s rousing, compassionate raison d’être in new iterations.
While there are enough down moments on Everything Now to make many Arcade Fire fans scream they’ve lost their touch, it’s altogether a much more cohesive and tight record than Reflektor.
More comfortable in their dancing shoes, Arcade Fire have it both ways on Everything Now, zeroing in on our modern malaise while taking inspiration from more concise dance-pop styles.
Whatever it is you crave, chances are you'll find a taste of it here. Whether forging an escape or a space for reality to hit home, Everything Now is a celebration of, well, everything.
When ‘Everything Now’ clicks, it’s magical, the band as cohesive and dynamic as ever. When pockets of the record feel more like an inside joke that could take time to cotton onto, there’s a sense that Arcade Fire’s urgent desire for, well, everything now, could be a leap too far.
When a group takes as much time between releases as Arcade Fire does—and demonstrates such unapologetic ambition—it’s reasonable to expect that its members have been slowly chiseling away at a masterpiece. Instead, Everything Now feels like the simpler record that frontman Win Butler once meant to make with Reflektor, before the project took on a life of its own.
While Reflektor was a more consistent album top to bottom, the peaks on Everything Now are headier.
Overall Everything Now feels much more singular than Reflektor, not just by virtue of its more compact runtime but also the consistency of its themes, with Butler skewering the insecurities of modern society. Anybody looking for signs of complacency will be sorely disappointed.
For the most part, Everything Now is a massive disappointment, a big stumble in Arcade Fire’s career. It’s their weakest album by far. But there are segments of radiant brilliance that will make you wonder what could have been.
Everything Now offers an underwhelming kind of overload: too much, but still not quite enough.
Though it's hard to technically fault these slick songs, the band's charm has slowly dissipated with each album since 2010's The Suburbs; what they've become is a well-oiled machine lacking the heart and soul that made them such a unique joy in the first place.
While Everything Now is not the perfect album, and not without its downfalls, it is an album worth exploring and giving sufficient time to discover.
Overall, there is just enough on Everything Now to appease fans and attract newcomers with accessible singles, but as an Arcade Fire record, it's unfortunately too inconsistent and ultimately hollow. Arcade Fire sought to make a Big Statement but instead produced one of their least impactful works.
Even the Hey Jude-y crowd singalong works. ... The album as a whole also has a coldness that threatens to undermine the point that Everything Now strives to make.
While there is still plenty to love here, Everything Now feels like Arcade Fire's first non-essential album which is a serious matter given their illustrious back-catalogue.
They're not back at their best, but on Everything Now, Arcade Fire once again sound like the world-beaters they were on The Suburbs without forgoing the acidity, swagger and scope of Reflektor.
The fact that its laudable desire to experiment musically doesn’t always come off isn’t enough to make Everything Now a bad album – there are songs worth hearing and genuinely thrilling music here – but rather a flawed one.
The megaphone-blown intensity that fuelled the band’s greatest underdog anthems is more diffuse here, diluted by an ironic, irreverent tone that renders some songs frivolous.
Everything Now finds Arcade Fire in a place they’ve never been. It’s unsubstantial.
Throughout the record, they treat the idea that modern living isn’t all it’s cracked up to be as a far more profound insight than it actually is.
This is the band as a shell of themselves, an uninspiring slog of half-baked ideas following a "trying-by-not-trying" attitude. The grandiose heights of Funeral seem light-years away.
Mostly disposable and practically obligatory, the album shows Arcade Fire confused as to what they want to do next so they use the ideas from Reflektor as a safety blanket.
Everything Now isn’t bad, it’s dull.
‘Everything Now' feels like the band's first missfire record of their career, with its lack of a focused concept, cohesiveness and heart.
They used to be the answer we sought from our fatigue with pop culture and over-saturated mainstream media, but Everything Now is sadly just contributing to it.
Everything Now finds Arcade Fire making a bolder and tighter move in a dance music direction than on Reflektor, but unfortunately it's even more of a mixed bag.
In Everything Now, Arcade Fire insult our intelligence by assuming that we don’t already feel on some level that there’s something wrong with our society and further demean us by offering an album so thoroughly decadent and self-contradictory that any message it might have had to begin with is lost by the wayside.
It’s as of now unconfirmed whether Win Butler and the grow-your-own-muesli gang have seriously pissed off a witch, but every particle of their songwriting talent seems to have magically dissipated. Everything Now never fucks with interest or novelty, and is frequently unlistenable.
I like how they made it loop back around to the beginning at the end as if anybody is ever going to want to listen to this album twice.
NME are the biggest kiss ass reviewers I swear
Edit: I have to be honest with myself, this has grown on me. I think my initial anger was just because I love Arcade Fire and was expecting a top tier album which it clearly isn't. However, apart from tracks 6,7,8, the album really isn't that bad.
After accepting the album for what it is I'm able to enjoy it a lot more. Instead of listening to it from a critical perspective I'm just listening to it as a Arcade Fire fan which I'm okay with.
I don't know anything about music. My response to a piece of music has always been emotional rather than analytical or critical. I don't have the background or technical understanding to explain or talk about music.
This album hits me. Oddly, it reminds me of Kanye West's The Life of Pablo. Like Pablo, it's a work brimming with energy and ideas. Like Pablo, it feels like a record constantly shifting, pivoting, and subverting the listener's shallow expectations of what the artist responsible ... read more
They went from nailing the social commentary on Reflektor to it being the worst thing about this album.
Everything Now sees Arcade Fire completely abandoning the sound they were known for in favour of the more electronic direction on Reflektor. But unlike that album, which felt like an experiment, this is just pure selling out. All the character and passion present in their previous works, such as The Suburbs, is gone, replaced by a commercial synthpop sound that just sounds so generic and forgettable. Not to mention, while the title track is good, why did we need it 3 TIMES? By that point, it's ... read more
1 | Everything_Now (continued) 0:46 | 62 |
2 | Everything Now 5:03 | 84 |
3 | Signs of Life 4:36 | 68 |
4 | Creature Comfort 4:43 | 70 |
5 | Peter Pan 2:48 | 52 |
6 | Chemistry 3:37 | 37 |
7 | Infinite Content 1:37 | 49 |
8 | Infinite_Content 1:41 | 48 |
9 | Electric Blue 4:02 | 72 |
10 | Good God Damn 3:34 | 53 |
11 | Put Your Money on Me 5:53 | 77 |
12 | We Don't Deserve Love 6:29 | 73 |
13 | Everything Now (continued) 2:22 | 65 |
#11 | / | Fopp |
#16 | / | Gigwise |
#17 | / | God Is In The TV |
#17 | / | Les Inrocks |
#29 | / | NME |
#49 | / | Dork |
#50 | / | Double J |
#50 | / | Louder Than War |
#85 | / | Piccadilly Records |
#93 | / | Earbuddy |