Wichtiger als der Gesang sind die Stimmungen. Schon mal darüber nachgedacht, wie es klingen würde, wenn sich Ennio Morricone und Dinosaur Jr. zusammengetan hätten? „Black Flower“ zeigt es. J Mascis spielt ein J-Mascis-Solo, dazu singt ein Chor eine süßliche Melodie – absolut fantastisch. Auch von deutscher Kosmischer Musik und vom Postrock von Mogwai ließ sich Adam Franklin beeinflussen, das Finale „Vamp“ erinnert mit Sprachsamples und Jazz-Rhythmen an den Moment, wenn aus einem Traum ein Albtraum wird.

(musikexpress)

Although Pierce has always had an adventurous streak, Spiritualized has mined largely the same stylistic vein over the past 25 years, crafting a heady otherworldly mix of strung-out psychedelia, devotional gospel, gritty classic rock, and futurist experiments. Each record takes a different thematic angle or zeros in on a specific aspect of that combination, but the story largely remains the same. This story hasn’t changed with Everything Was Beautiful. If anything, the sound of the record feels like a revival of past glory. Yet, as much as Pierce retains his signature style, the record never feels rote or phoned in. There is immensely evident craftsmanship that runs through the album, and a newly revitalized soul that, for all its beauty, And Nothing Hurt missed. If it turns out that Everything Was Beautiful is the last Spiritualized project we ever get, it is an unexpected gift that lives up to the best of Jason Pierce’s storied career.

(Under The Radar)

In fact, at a time when the first four Spiritualized albums are being reissued in deluxe vinyl editions, Everything Was Beautiful feels like a greatest hits round-up of Pierce’s most appealing talents. Always Together With You is a twinkly, gentle love song that builds to a Phil Spector wall of sound complete with girl group backing vocals. Mainline begins with the evocative clanging of a passing American goods train and drives propulsively forwards, repeating its simple refrain in subtly different ways and sweeping the listener up in an irresistable swelling of sound. There’s a heartbreaking country song with the simple title Crazy, and a wild krautrock freakout, The A Song (Laid in Your Arms).

(Evening Standard)

THE UNIVERSAL WANT beginnt mit einem Geniestreich: „Carousels“ basiert auf einem Drum-Sample von Tony Allen, die Band hat dieses in bester DJ-Shadow-Manier schon vor einigen Jahren ausgeschnibbelt, nun ist es ein Tribut für diesen einzigartigen Schlagzeuger, der im April verstarb. Auf dem federnden Beat entwickeln Doves einen mehrdimensionalen Popsong: sehnsüchtiger Gesang, Gitarren wie Tautropfen, ein Refrain komplett in Moll und dennoch erhaben.

Wäre bei Coldplay nach dem Debüt alles anders verlaufen, vielleicht würden sie heute so klingen. Der bewährte Doves-Trick auf den folgenden Stücken ist es, den verträumten Folksongs ungewöhnliche Strukturen zu verpassen, man merkt bis heute, dass die drei in den 90ern mit SubSub eine Art Club-Variante von New Order betrieben haben. „Cathedrals Of The Mind“ heißt ein Song: Doves zählen weiterhin zu den großen Pop-Baumeistern des Königreichs.

(musikexpress)

Opener and lead single “Just Imagine” follows the template set by songs like “Lonely Avenue” off his 1990 debut. It’s a simple, Yamaha driven melody, enthusing its subject matter that was inspired by the story of a boy that suffered from cancer only to become healed by raining out his illness.
While both “Just a Little Piece Of Me” and “Things Like That (a Little Deeper)” follow in a similar vein, the spoken word epilogue that’s “Spinning Coins and Wishing on Clovers” has an air of reminiscence about it. Again, not that dissimilar in structure to “Angel” off the aforementioned Spectrum long player. It stands out as one of the most striking moments in admittedly exquisite company.
Indeed, there isn’t a solitary second where All Things Being Equal feels forced, overwrought, or hackneyed. Instead, this is a record that demands to be heard in one sitting, then repeatedly ad infinitum. “Tawkin Tekno,” the only instrumental number on the album, sounds like a Suicide outtake remodeled for the millennial age, while epic closer “I Feel a Change Coming On” finds Kember at his most reflective, yet assured.
All things being equal, this is arguably Pete Kember’s finest body of work since Spacemen 3.
(Under The Radar)

After a first listen it everything is business as usual. Sonically ‘All Things Being Equal’ plays with a larger pallet of sounds and tones than ‘Spectrum’. Everything just sounds richer and fuller. Kember’s sonic scope is grander too, along with his attention to detail. Unlike ‘Spectrum’ this album was composed entirely on synths. No guitars were used, or harmed, during the making of this album. The lack of guitars is not really apparent until you have listened a few more times and had a chance to digest everything. (…)
The ultimate question is: was the album worth a thirty year wait? The answer is a resounding YES. Just don’t leave it so long next time though…
(Clash Music)

Opening cut “Just Imagine” has the bloopiness, pulse and melancholy vocal defining Kember’s contributions to Recurring. Next, the spacey “Just a Little Piece of Me” incorporates the hymnal texture he and his then-partner Jason Pierce deftly brought to the late Spacemen 3. “Tawkin Tekno” suggests Kraftwerk and, true to its title, also nods to early/mid Nineties techno. The poppiest cut, “The Way That You Live”, has touches of Phil Spector but, again, could have been written and recorded by Kember close to 30 years ago. All Things Being Equal’s claustrophobic, epic and similarly déjà vu-inducing closer is titled “I Feel a Change Coming On”. A sentiment which doesn’t seem to apply to this album.
(The Arts Desk)