Review Summary: In my iTunes library, Each and Everyone falls directly above The Antler’s Hospice. How fitting.
Just imagine if there was a delightful disease that you could catch. It’s symptoms would include but not be limited to bliss, contentment, and relaxation. It would spread like wildfire around the world, because of the sheer contagiousness. People that catch it would be in high demand, of course. Now, imagine a musical equivalent to this disease. Actually, you don’t have to, it’s right here for you.
Each and Everyone is infectious and lively. Annabel, quartet from Kent, Ohio (yes, good music CAN come from Ohio), have reason to rejoice in their first full-length.
Each and Everyone gallops along at a lively pace, with infectious indie-rock tunes. They give off a vibe that’s a throwback to 90’s indie greats, Built to Spill and Pavement, without becoming simply another knockoff. Textured and melodic, Annabel really have a knack for maintaining a dreamy quality over these 13 songs, yet keep your foot tapping in the process. No, this isn’t revolutionary or incredibly innovative, but
Each and Everyone is an immediately likable record that you don’t stop liking at “immediately.”
Thirty seconds in and I’ve caught the plague. Bells, cymbal-based percussion, and infectious guitar grooves won’t be leaving my system for a while. The layers of sounds are perfectly constructed throughout, for the most part, and the clean production really adds to the quality of
Each and Everyone. The first two songs, “Sleeping Lions” and “People and Places” are fantastic indicators of whether or not you’ll like this, not to mention two of the strongest on the album. The former provides a welcome progression in its entirety, using a slow/fast and soft/slightly less soft formula that really catches the ears. “People and Places” is a romping, louder sentiment that showcases Annabel’s less soothing side. If you’re not hooked by now, call a doctor, because there’s something wrong with your ears.
Ben Hendricks’ soft vocal style remains very constant throughout, and impressively he seems content to take a back seat to the more impressive instrumentation backing him. By concentrating on their strengths, Annabel and Ben Hendricks show a maturity that propels the album forward instead of letting little flaws here and there hold them back. The lyrics run parallel to the music, and are often very introspective and thoughtful, yet fluffy. “In Droves” and “You Started Thinking Again, Didn’t You?” explore subjects of introspective philosophy while managing to keep things light. And while I can’t call them a highlight, the lyrics are definitely very fitting. The soft, meticulous layers are one of
Each and Everyone’s main attractions, and Annabel knows this. The guitar grooves manage to strike a tone of diversity, they’re poppy when necessary but can pull of an elongated jam here or there, too. Subsequently, while
Each and Everyone is a mostly safe endeavor, Annabel wasn’t afraid to add nice aesthetic touches like a backing choir that compliments beautifully in songs like “As It Happened.”
Each and Everyone falls victim to a kind of apathy in their music, and the songs tend to blend together. This is most likely because of a lack of standout moments, but also because the
Each and Everyone is fantastically consistent throughout. The material isn’t exceedingly unique, but damn do they do that swirly indie rock sound well. So if you’re looking for a throwback to Built to Spill, proof that superb music can come from Ohio, or simply a sensational relaxing record, this is one infectious disease you’re going to want to catch.
