According to Silke Tudor of the SF Weekly: 'It is the hope of Everywhen that it's performances open with a reading of poetry, not surprising for a group whose own words sit within sighing parentheses framed by lush orchestral curtains, all drawn with the precision and detail of romantic poets. 'I reach for the lantern and carry myself from the train ... hand to the tunnel wall I felt the truth in the clay,' intones the luscious voice of Chris Moore-Backman under a rolling swell of snare and the dripping caress of violin. This is the sound of rainy nights spent inside crumbling Victorian walls painted in burgundy and gold. It is the sound of melancholy pop-stars-in-waiting whose pensiveness has transcended their age.' According to CD Baby's Tamara Turner: 'Like hot tea on a rainy day, like a fleece blanket to take away a slight chill, the music of Everywhen might, at first listen, seem like an indulgent luxury that one affords oneself when in need of pampering soul food; however, with continued listening, the album steadily becomes more of a necessity and a must-have... much like the phenomenon of not knowing what you're missing until you taste it and from that point on, being unable to get by without it. With hints of Coldplay, U2 and signature, organic washes of dreamy guitars, piano and ambient effects mixed with the richness of cello, bass and layered drums, the emotionally-strained yet resonant vocals skim the surface of these songs, like light dancing on the surface of a deep, dark lake holding the great mysteries of the world. If you fancy emo or dreamy pop, this should be on your wish list.' According to Kevin Matthews, Music Reviewer with Fufkin.com: 'Thoughtful, deliberate and erudite, Everywhen delivers the artier side of the 80s 'new wave' movement - perfect for those quieter moments in life.'
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