Everything Everything's fifth studio album, RE-ANIMATOR, follows a pair of rousing, socially and politically charged U.K. Top Ten releases in Get to Heaven and A Fever Dream. A sleeker, less hectic album that pauses to take stock of things, RE-ANIMATOR also marks the launch of the group's own AWAL label. It was produced by first-time collaborator John Congleton, known for his work with acts like St. Vincent and Spoon as well as Lana Del Rey and Angel Olsen. According to the band, RE-ANIMATOR also represented a renewed focus on songwriting, with Congleton doing his part by limiting takes and time spent in the studio. Near flawless performances, including Jonathan Higgs' reliably emotive vocals, still emerge, as is evident from opening track "Lost Powers." It starts with whirring mechanical effects and a spare guitar hook before an equally efficient rhythm section and Higgs' reflective vocals join in. String-like synths (or processed strings) and rich vocal harmonies are among the few other components added as the song gathers energy and switches to heavier drums and fuzzier guitar tones for its climax. However, the track remains focused and melodic. The same can be said of the rest of the album, with not much separating the songs in terms of quality hooks, engaging melodies, and the commingled feelings of warmth and apprehension. Following songs with grandiose titles like "It Was a Monstering" and "Planets," the driving "Arch Enemy" makes metaphorical reference to kings and sphinxes while taking musical inspiration from the chord structure of Allegri's "Miserere." Later, with otherworldly lyrics, "In Birdsong" ("I hear me sing a song that I cannot begin to understand") makes due with percussive acoustic accompaniment, light keys, and strings -- at least to begin -- under a soaring, yearning vocal delivery. Throughout, RE-ANIMATOR's crisp, melancholy anthems, if less colorful than prior albums, remain captivating, bringing with them an existential poignancy that lingers beyond the closer, uptempo rocker "Violent Sun," and its apocalyptic chorus ("I wanna be there!/When the wild wave comes/And we’re swept away").