‘A trio with a distinctive, idiosyncratic lean…The mood music is dark, neo-gothic, desolate and blue, a bittersweet symphony… loops and grooves do their work in a hypnotic and austere manner’ Jim Carroll, The Irish Times
‘Three Crows’ makes for a fully entrancing listen from Everything Shook, indicative of the group’s own bewitching characterization.’ The Last Mixed Tape
‘Beautifully expressive vocal layerings in a dreamy, sad aura … sinister synthetic waves of ethereal melancholy’ WHITE-LIGHT WHITE-HEAT, Italy
‘Irish Electronic outfit Everything Shook just released their new single Stand Ajar – a pleasant mash-up of Debbie Harry, Voice of the Beehive and Xeno & Oaklande’ The Letter Blog UK
‘A horror soundtrack for modern living” Nialler 9
‘A dark, visceral slice of bleak and brooding electro’ Golden Plec
‘A kinetic and technicolour blend of music, electro-performance art and synchronised choreography’ The Thin Air
‘Unique and undefinable’ The Last Mixed Tape
‘Everything Shook recall Fever Ray and Ladytron at a melancholy 4am disco with David Lynch Djing’ buzz.ie
Press – ‘Three Crows’ single
‘Everything Shook make their return with the darkly-lit offering ‘Three Crows’. Set against a depthful backdrop of brooding electro, the haunting nature of Everything Shook ‘Three Crows’ shifts and shapes itself around the trio’s ability to weave a defined atmosphere into their music.
Add to this the abstracting black and white aesthetic of the accompanying music video, and ‘Three Crows’ makes for a fully entrancing listen from Everything Shook, indicative of the group’s own bewitching characterization.’ The Last Mixed Tape
Press – ‘Stand Ajar’ single
‘Everything Shook’s ‘Stand Ajar’ is dystopian electro-pop inspired by Plath and Dickinson. Today, the ambient electronica, freak folk and gothic electro (take your pick and mash them up) return with their first track since that release. ‘Stand Ajar’ takes up that dormant thread, an urgent teaser of their second album revelling in dystopian electro-pop with an atmosphere of sadistic unease.’ Nialler9
‘Everything Shook has made their return with the propellant and darkly atmospheric sound of ‘Stand Ajar’. An intense and haunting listen, it’s good to have the perennial TLMT favourites back.’ The Last Mixed Tape
Press – ‘Drinking About You’ Album
‘Everything Shook stand out in the domestic ranks . . . They’re a trio with a distinctive, idiosyncratic lean to their sound and approach, as they seek to unbundle and rethread electronic rock’s often conservative ties with gusto and gumption. The mood music is dark, neo-gothic, desolate and blue, a bittersweet symphony which sets up a series of tracks where loops and grooves do their work in a hypnotic and austere manner . . . You can’t fault how this album sets a scene.’ Jim Carroll, The Irish Times, 2016
‘Everything Shook have proven one of the more interesting outfits on the Irish live circuit of late, a kinetic and technicolour blend of music, electro-performance art and synchronised choreography . . . Stylishly executed first record – in one corner opaque but in another airy, tongue-in-cheek yet sombre, hinting at violence and mystery. It’s a cloak they wear well.’ The Thin Air, 2016
‘Sometimes you just want music to grab you by the lapels and take you with it, especially if it’s somewhere you wouldn’t normally go. Drinking About You is that type of album. Wonderfully abrasive and unapologetically upfront, the music of Drinking About You pulls you through the dark, seedy gothic-electronic world of Everything Shook . . . fascinating and unrelenting . . . Easily one of the records of the year.’ Album rating: 10/10, The Last Mixed Tape, 2016
‘Drinking About You has an eerie atmosphere to it, synths gurgle like AFX Ambient Works and voices hang like gossamer harmonic threads. The presence of an underbelly of dread, dystopian urban living and disconnection are felt throughout; a horror soundtrack for modern living.’ Nialler 9, 2016
BED STAIN – SINGLE
Feb. 2016 The Last Mixed Tape is proud to premiere the brand new music video for ‘Bed Stain’ by Everything Shook. Perennial TLMT favorites Everything Shook have returned with the gloriously off-kilter dark-electro sound of ‘Bed Stain’. Delivered with the deadpan brooding that made their previous record Argento Nights so compelling to listen to, ‘Bed Stain’ is a much fuller darker picture of Everything Shook’s sound, one that is filled with tensely twisting synths and hypnotic vocals. What’s more, ‘Bed Stain’ isn’t different for the sake of different. It’s different because of the people who made it. Everything Shook make music through no one else’s filter but their own and that is something to celebrate. If ‘Bed Stain’ is an oddity, then it’s a beautiful one. The single itself is out now via bandcamp. Photo credit: Laura Sheeran.
Golden Plec Magazine, Hard Working Class Heroes Festival 2015, The Academy Green Room
‘You’ve got to admire a venue that has big poles obscuring the view. No, wait…you don’t, not at all. Just like The Academy 2, The Academy Green Room sports four big poles for eight people to lean against while they watch a band. Unfortunately for Everything Shook, this is where they end up, playing to a criminally meagre crowd. That’s the compromise when you’re at somewhat of a remove from the epicentre of the festival across the Liffey. In any event, Jessica Kennedy, Áine Stapleton and Robyn Bromfield squeeze themselves and some gear onto the small stage and begin a set that must rank as the most eccentric so far. A baroque Misericord, with those chant-like three-way vocals, leads into Come Back To Mine. Its dark pulse and industrial undercurrent offset the vocal stylings, all at once gothic, playful, and danceable. Three glasses are produced, a concoction is poured from a blender onstage, and the band sip as the ensuing track segues into a version of Amhrán na bhFiann you’re unlikely to hear anywhere else – save maybe for if Laurie Anderson ever decides to sing it. All three don shades and coloured wigs, and suddenly two of them are stage front engaging in a lengthy choreographed dance routine. Some audience interaction follows, and a lad comes onstage to don a horse head mask. When he begins to dance one thing becomes apparent…this isn’t his first rodeo. Everything Shook drew a short straw on the venue front, but nonetheless, theirs is one of the most enjoyably entertaining sets we’ve seen in a while.’
Listed in the Ten Best E.P’s So Far by The Last Mixed Tape
Everything Shook – Argento Nights
An E.P. that rumbles with sheer brute force and abrasive sounds, Everything Shook’s Argento Nights broods with upfront punkish electronic music leaving the listener in little doubt as to the band’s uncompromising stance.
Key Track: ‘I Walked Past Your House’
Nice write up for our Brooklyn gig, May 2015
Everything Shook’s E.P. Argento Nights is a record about unyielding individuality, frustration and brute force. Built from disparate musical parts, it’s also a record that fuses a myriad of sounds into a harsh, uneasy listen that captures the imagination.
The twinkling bells and slight flourishes of synth textures smooth out the sharpened beats and cutting electronica that give Argento Nights a unique sound. Songs such as ‘Come Back To Mine’ find Everything Shook playing with this collision of musical elements by giving a notable pop edge to the songwriting.
Everything Shook delve further into the darker, brooding possibilities of their own music with ‘Misericord’, which uses a strong rhythmical background and long-held synth notes to create a sense of tension. This is once again explored in the chiming bells and popping beats of Argento Nights’ closing track ‘I Walked Past Your House’.
There is a sense of malaise to the music of Argento Nights. The entire E.P. moves with a slow, yet purposeful growl that speaks of Everything Shook’s rejection of conformity. Indeed the record adamantly sets itself apart, and seeks to be taken on its own terms, resulting in the trio constructing something unique and undefinable.
Some will find the nihilism and punkish electronic sound of Argento Nights hard to break down at first; the E.P. definitely broods in an abrasive way, but once that connection is made the record is an ultimately rewarding listen for its inventiveness and individuality alone.
Introducing: Everything Shook
Featuring Jessica Kennedy and Aine Stapleton, from You Can Call Me Frances, and Robyn Bromfield – a.k.a Catscars – Everything Shook have managed to combine elements of these projects rather cursively on their debut EP; Argento Nights. Keyboards, synths and glockenspiel as well as a wide variety of sound effects courtesy of Bromfield’s Korg DS, are ever present throughout the EP and when you add in the girls’ haunting harmonising, Everything Shook’s opening chapter keeps you guessing. A countdown-like synth kicks off ‘I Walked Past Your House’, a track that reveals a particularly discerning observational account of one night, containing lines such as: “overwhelmed by the moonlight/I became a waterfall of fright” and “dread in my whole body”. As murky as those lyrics may be, the song also highlights the impressive vocal attributes of the trio, who harmonise effortlessly throughout. ‘Come Back To Mine’ is heavier on the synth and keyboard sounds and it also contains more of an electro-pop vibe to ‘I Walked Past Your House’. Vocal duties are a little harder to pin down however, with every other line having a seemingly different singer, though the chorus of: “cool ye/boil ye/bake ye” sees all three back in sync. Final track ‘Misericord’ is the weakest of the three efforts, with some of the sound effects sounding forced and like they could accompany a cartoon villain’s entrance! There’s an eerie feel to Kennedy’s keyboard playing, while the bass is so low in the mix it’s easily missed so here it feels a little light weight. The band’s brand of minimal electro-pop may contain the odd dark lyrical theme or two, but by adding some rather quirky instrumentation to proceedings they have managed to bring a unique element to the genre.
Indicative of the weird and wonderful experience that Body & Soul delivers are Everything Shook, a trio of dance-punk unknowns who play the bijou Pagoda stage with nonchalant abandon. They disappear almost as quickly as they arrive – ‘This is our third and also final song’ – but with shade of Kraftwerk, they leave a lingering impression on the few that witness them, not least when they deploy a food blender at one point to complete their idiosyncratic, synth-laden sound.