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PREMIERE: Listen to The Everywheres’ new album, ‘Dignity Fever’

Apr 21, 2016

The classic psych-pop of The Everywheres could only come from Halifax.

Photo: Kate Giffin

“It sounds like Halifax because this is where we find ourselves,” says Sam Hill, lead singer-songwriter of The Everywheres. “There is something incredibly strange about this place.”

Today, the band releases Dignity Fever, a long-awaited album that twists vintage sounds, thoughtful lyrics, and classic-pop melodies into an eight-track testament to friendship, loneliness and location. Listen to it below:

In the last few years, The Everywheres have taken shape to find this perfection, switching the line-up every so often and performing all around the Atlantic region. From their hometown of Halifax, they’ve accomplished some pretty neat stuff, including memorable singles, LPs, and this album.

Last month, through the band’s connection to San Francisco label Father/Daughter Records, The Everywheres got their jangly single “Watch It Grow” on the Comedy Central series Broad City.

For a bunch of young guns, Dignity Fever is incredibly mature, likely because the recordings developed over time. The album features vocals by Amy Vinnedge (Vulva Culture) and Eliza Niemi (Mauno) and drumming from fine folks like Bianca Palmer (Vulva Culture) who, after a hiatus, is back in the band full-time.

“The sound of the album is like nostalgia for the present,” says Niemi, who joins them occasionally. “It’s referential and exciting in that way, while also being fresh and shiny.” The band’s growth during recording shaped the sound of the album.

“I think it has an interesting sound because at the beginning of the process we were listening to a lot of ’60s and ’70s rock-pop, like The Kinks and Neil Young,” says Adam Gravelle (bass). “But by the end, we were listening to a lot of soul music from that same period, like Shuggie Otis, Al Greene, and Curtis Mayfield.”

The Everywheres say they want an evolution. Marilla Word (keys/organ) adds that Hill’s songwriting is consistently impressive, and while all of their influences range widely, Hill continues to bring solid songs and ideas to the band upon which she, Gravelle, Palmer, and Nicholas Hanlon (guitar) build. She says playing together feels natural, and that organic, vintage feeling of friendship permeates the album.

“All of us played a part on this record and everyone has a profound print. My favourite thing about the band is saying something that I believe in with my best friends,” says Hill, who recorded many of the tracks in living rooms, bedrooms and backyard sheds around Halifax and Nova Scotia’s South Shore, with high-quality production, mixing and mastering by Jacob Hiltz at his studio, The Electric Loft.

Because of this overlap between friends and bands in Halifax’s local scene, which is experiencing a classic-pop and classic-rock renaissance in rockers like Walrus, Loveland, and Kurt Inder, The Everywheres are forming the sound of the city. The song “South of Quinpool Road,” with its gorgeous vocals, quirky guitar noodling and staccato organ, focuses on Hill’s existential meandering in a beautiful Halifax neighbourhood.

“It’s like being willfully stuck,” says Hill, “It’d be a joy if anyone listened to the album and said, ‘This kind of sounds like Halifax,’ because I love this place.” The Everywheres got a fever and the only prescription is more dignity.

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