Everything Everything are angry, but no one cialis professional generic knows why. Get To Heaven is filled with rage, paranoia, nostalgia, and exaltation. If anything, this album is their Black Holes And Revelations (Muse, 2006), or their The Bends (Radiohead, 1995); both albums that channel the absolute chaos of the years in which they were released. But also albums that shot both Muse and Radiohead out of underground online levitra dream pharmaceutical British rock and into mainstream headliner status. It’s hard to pin down Get To Heaven. The songs are filled with Foals-esque tropical guitar pedals, Queen style marching beats, and the iconic falsetto of Jonathan cialis online uk Higgs that pours through each track.
To The Blade, the opening track, acts as a transitory moment for the band at the beginning of the record; an optimal time for the band to depart from the synth heavy glitch rock that occupied their first two albums. Around one minute in the band takes a new form, when a guitar riff screams in, one that is quite unapologetically derived from the songbook of Muse. This theme continues through Get To Heaven as the band develops a cohesive sound. Fragments of British rock staples shine through: Foals on Distant Past, Queen on Regret, and Klaxons on Fortune 500. The album is itself paying homage to the superstars that preceded them in their field. And if the reviews of their Glastonbury set speak for anything, it is that they are ready to fill the shoes of big power-rock bands that came before them.
Get To Heaven is a cohesive and incredibly strong rock album that 2015 desperately needed. Each tracks holds its own as a standalone piece and the pace and flow of the record itself is seamless. Though perhaps two tracks too long, the listening experience is captivating. The band played their cards right on Get To Heaven, shooting the boys into the insanely competitive world of headliners and headline makers.