The Everywheres are a dip into hazy, warm harmonies—a swirl of '60s psych-rock and modern-day pop that feels like a daydream painted with a shimmering gold and orange palette. They've mastered melodic vocals and poetic lyrics that will rock you gently in an afternoon daze, slow, smooth, and easy. The eight-piece Nova Scotian outfit brainstormed their latest LP, Dignity Fever, as The Kinks, Neil Young, and Curtis Mayfield played in the background, absorbing elements of folk, soul, and blues that so often intertwine and carve niches into the ever-expansive genre that is rock.
"The sound of the album is like nostalgia for the present," bandmate Eliza Niemi mused to Aux Magazine, and I have to agree that the record is delivered to us like a polaroid snapshot taken at your last apartment party—pseudo-vintage and far more personal than your average digital upload. True to their name, The Everywheres are neither here nor there. They toe the line between past and present, evoking a sense of déjà vu with songs that are brand new. And if you're still trying to sort out their genre, think Almost Famous soundtrack meets Tame Impala.
Their track "I Still (Love You)" is a gem of a vignette, stretching just over two minutes as a reflection on past love and an encroaching loneliness. The song is soft-sung and drenched in a sunshine melody, evocative of the Mod movement that took root in the early '60s (the decade of choice when it comes to The Everywheres' inspiration). “I feel so true, so true, so true to you / I still do / My desire is a ship that doesn't float / Recollections that pull me deep below,” they murmur, and with language like that, we see how The Everywheres don’t simply write songs, but plant seeds for reveries. As listeners, we’re awash in their metaphors, and have probably never felt so at ease.
Another beautifully-written song is “Concede,” tackling conflicting emotions with an enviable grace: “After all the dust has settled sunlight hits your face / Misfortune is replaced, still I wonder/ Why I hesitate / To crawl beneath these parting clouds and land in your embrace.” The words are purposefully delivered in a slow, dreamy interlude, one of the few times Dignity Fever edges toward a (slightly) somber note. Guitars are featured in this section, the chord progression akin to a deliberate, steady ascent up a spindly ladder—a hypnotic weaving, to say the least.
Much of Dignity Fever was recorded outside and throughout Nova Scotia, and we should expect nothing less from The Everywheres, whose very name implies a drifter lifestyle. Their sound has started to garner attention down south, featured in Comedy Central’s Broad City and nabbing a release with Father/Daughter Records (based in San Francisco and Miami). One of the band’s frontmen, Sam Hill, noted in an interview that if he wasn’t doing music, he wouldn’t be doing anything else. Having heard this record, we’re glad it worked out that way.