Reviews

ES-6

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.

Bray

 

Golden Plec Magazine, Hard Working Class Heroes Festival 2015, The Academy Green Room

Everything Shook

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
http://thelastmixedtape.com/2015/06/08/tlmts-10-stand-out-e-ps-of-2015-so-far/
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
http://deeplyfascinating.org/2015/05/28/everything-shook-to-shake-brooklyn/

The Last Mixed Tape
April 2015
Stephen White
Everything Shook wall
The Last Mixed Tape reviews the new E.P. from Dublin based three-piece Everything Shook, entitled Argento Nights.

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.
Rating: 9/10

The Thin Air
Issue # 6, April 2015
Conor Callanan
Everything Shook 1 photo Abigail Denniston

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.

Metro-Herald
Body & Soul Festival
June 2014
Luke Holohan
Everything Shook Electric Picnic Robyn mic photo Tadhg Nathan

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.

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