Following their two EP’s, Everyone To The Anderson deliver their first album proper with assured control.
The Brighton trio could possibly have decided upon the oddest title of the year for their full-length, The Man Born From Inside Of A Horse.
It delivers on the sound that they have laid the foundations for, with stabbing, angular guitars and tremendous rhythms littering the 11-track debut.
The math-guitars are reminiscent of Foals‘ debut, while the tracks foray into tides of latter Les Savy Fav – it’s a mash of stop-starts, throaty shouted vocals and insane noise.
Breaking from Brighton’s – at the moment – effervescent scene, ETTA are following the tentative steps taken by contemporaries Blood Red Shoes and Ghost of a Thousand to seize the rest of the country in a rather unsuspecting fashion.
Released on one of the most supportive Indies in the country, Toy Soldier Records, they recorded in a disused industrial unit on the outskirts of Brighton amidst ‘varying moods and weather conditions’ that have influenced the album more than they might have originally entertained.
It’s inherent that all three piece bands need some key ingredients; an imaginative drummer – check; big riffs – check; but most of all thick, fat bass lines – ETTA have this in reserve.
‘Let’s Take This To Smithereens’ and ‘Knuckle Supper’ are brilliant examples of all of these elements coming together in glorious fashion, feeling into sounds that are reminiscent of Sonic Youth.
The vocals are simple and often spoken, almost an after-thought to some songs as the music takes off into it’s own textured soundscape.
‘Danzig High Flyer’ builds into a swirl of guitars and cymbals with hints of Kill Kenada, while the half way mark ‘Hope In The Valley’ gives way to over-distorted guitars for a minute.
Amongst all the noise, guitars and drums there is something that seems to be lacking.
The band is well renowned for an explosive stage show and among some gig-goers, they are considered the best live act in Brighton.
It is this explosive energy that seems to have been lost in transition to the studio versions. It is briefly regained in the short ‘Face Like Centurion’ and opener ‘High Brow, Low Brow, No Eye Brow’ but the rest of the album threatens to, but never really loses control.
The record is a superb debut and with the band already taking the stage with the likes of Biffy Clyro, Micachu & The Shapes and Rolo Tomassi, it’s likely they will be ruining a town near you soon.
Oh, and of course, top marks for use of the cowbell – top marks indeed.