Six albums in, the real potential of Water From Your Eyes is only just starting to crystallise. Everyone’s Crushed is their best collection of ideas to date, blending disparate elements into a harmonious cacophony you can lose yourself to. The exciting thing is that we doubt they’ve even reached the peak of their inspiring, oddball sounds.
Jumping to Matador for Everyone’s Crushed was a bold move; they now get mentioned in the same breath as Interpol and Spoon, two bands they’ve opened for. Now their music and hopefully influence can reach further, because today’s musical landscape seems devoid of this kind of truly offbeat humor.
As strange as Everyone’s Crushed can get, Water From Your Eyes are not trying to push people away from them. They’re creating a whole new space: one that’s louder, more radical and more hopeful, and also funnier than before.
Thankfully, Everyone’s Crushed isn’t pissing anyone off despite any trollish intention. It’s honest, smart, refined – and simply excellent.
There isn't a single moment on Everyone's Crushed that doesn't feel crafted to perfection, leaving no doubt that Water from Your Eyes is hitting a stride.
Water From Your Eyes are one of the most interesting acts in music these days and no doubt a coup for Matador to get them in their grasp. If creating the music on Everyone’s Crushed was as fun as it is to consume, it’s a wonder that Brown and Amos take time to eat or bowl a few frames.
It’s pretty surprising that Everybody’s Crushed is Water From Your Eyes sixth record. Brown and Amos are keeping things sounding and feeling pretty fresh here.
Art-pop of the highest level The Brooklyn duo raised the highest bar for themselves with this record, I want to note that together with "Jockstrap" they create the best indie art avant-garde, it all sounds sweet, not usual, stylish.
© 2023
Brief Review: Pretty solid post-punk album. Nothing much else to say about it tbh, it just does everything pretty damn well. Not much else to say tbh.
A hard one to pigeonhole in the current indie landscape - I've heard people throw this in with the crop of recent post-punk acts and that doesn't feel quite right.
To my ears this is more like mixing some BSS, Radiohead and LCD Soundsystem with additional noise and 'no wave' orientated elements - somehow it still maintains a direct, almost commercial rockist and/or indie appeal throughout.
Very confident album this time, some added maturity, and despite the diversity this is consistent not ... read more
Skipped this album last year, and I regret it. I saw this band open for Squid last week and I was amused, so I decided to actually check this album out.
This is some fun and spacious experimental music with some hints of post-punk in the rhythm section at times. There’s a lot of focus on unsettling or unexpected synths and driving beats. There’s strange layers over strange layers within fairly unstructured sounding compositions. Vocals that are stagnant in tonality add some ... read more
I had the chance to catch Squid live the other day and, unsurprisingly, they were phenomenal. Those crazy ass Brits know how to put on a SHOW, bro. They had Water From Your Eyes open for them, who I’d never heard of before, but found myself highly intrigued by. I was really intrigued by just how off-kilter and bizarre their sound was. Diving into their latest record revealed that the band’s idiosyncratic sound is currently far better suited to a live setting rather than a recorded ... read more
I'm with the critics on this one. This album has some of the most experimental sounds of 2023 - and most of them land well.
Barley was one of my most streamed songs last year. The guitars sound contorted and often unmelodic, but that perfectly mixes with Rachel Brown's rythmic, spoken word delivery of avant-garde poetry, and unpredictable percussion.
Even the flow of the album subverts the expectations - while it feels like it's about to end with 14, the actual closer is Buy My Product, a ... read more
1 | Structure 1:49 | 65 |
2 | Barley 3:29 | 79 |
3 | Out There 3:20 | 77 |
4 | Open 2:53 | 69 |
5 | Everyone's Crushed 4:01 | 67 |
6 | True Life 3:45 | 75 |
7 | Remember Not My Name 3:18 | 72 |
8 | 14 5:53 | 73 |
9 | Buy My Product 2:54 | 76 |
#7 | / | The New York Times: Lindsay Zoladz |
#18 | / | Loud and Quiet |
#27 | / | Pitchfork |
#28 | / | Beats Per Minute |
#28 | / | NME |
#29 | / | Stereogum |
#30 | / | No Ripcord |
#33 | / | Norman Records |
#33 | / | The Forty-Five |
#35 | / | Consequence |