There's a big difference between being "critically acclaimed" and actually selling records. Just ask Speech Debelle or Talvin Singh (if those names draw a blank then both are previous recipients of the coveted Mercury Music Prize who, publicly at least, have been quickly forgotten about). Manchester-based innovative indie/pop band Everything Everything were themselves nominated for that award with debut album 'Man Alive', a top 20 album in the UK. So acclaim and public acceptance was in reach for sure, especially with the popular radio hit 'My Kz Tr Bf'', a song that even their detractors must admit was a decent tune. And of course each and every band in existence will have their fair share of critics or simply people they fail to resonate with.
There are a couple of minor problems which may have held them back; anyone trying something new will take time for their ideas to worm their way into public consciousness, then there's the whole "Marmite" issue. Singer Jonathon Higgs' heavily-accented falsetto was always going to divide opinion, but again, the more your brain becomes accustomed to it the less of an issue it becomes. Plus, knocking someone for having a unique vocal style (and he can certainly sing) seems counter-productive at best. In the 18 months since their debut these issues will naturally have addressed themselves, making us more ready for another album by this creative bunch. Sure, there will be people who will remain steadfast opponents to their music, but with the release of 'Arc', Everything Everything's fanbase could be set to soar, because this time they're achieved consistency.
Personally speaking, I found 'Man Alive' a bit hit and miss, and maybe a bit knowingly quirky. There are no such problems here, despite that quirkiness. This, it is now apparent, is simply a natural part of their make up. The songs are of a higher standard too. 'Cough Cough' is pure experimental pop excellence, their biggest hit to date with that voice now more like an old friend than an anomaly. Second single 'Kemosabe' is also addictive with its funky pop edge. 'Feet For Hands', 'Armourland' and 'Don't Try' could follow suit. Not every track has single potential; this isn't a greatest hits. However the slower, less instant songs are equally engaging given time. 'Torso Of The Week' is like a pretension-free Prince had he been from Northern England, and the near chamber-pop of 'Duet' is top stuff. They also touch on the political events that have taken place in the past year or two, particularly on 'Undrowned'. Hopefully by now the public are ready, Everything Everything certainly are.
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