‘everything, in time’: Guided by fate, hindered by inconsistency

Ella Eyre’s highly-anticipated second album came out today, and as a fan from the very start, over ten years ago, I have some thoughts. everything, in time centres around the theme of fate, manifestation, and destiny. Eyre puts her future into the hands of the universe on multiple tracks throughout the record, taking an ‘if it’s meant to be’ approach to life. The album, at its core, is pure, mature reassurance; a sign to keep going, because everything will work out. 

Eyre is most well-known for her collaborations with electronic bands and producers such as Rudimental on ‘Waiting All Night’, DJ Fresh for ‘Gravity’, and Sigala with ‘Came Here For Love’. While the new record does have nods to these EDM anthems, it’s much more authentically Ella, more reminiscent of her debut album than any radio smashes since, opening with the titular track, ‘everything, in time’, immediately calling back sonically to Feline, her honesty and authenticity evident. Eyre has a new attitude to life, taking things as they come, awaiting the gifts the universe has in store for her. The track is a perfect introduction to the album, simultaneously encapsulating the record’s core ideas while also leaving listeners waiting for more. The raw, electric guitar at the end of the track lays the path to the new album, full of soul and hope.  

Eyre clearly thinks we are all glued to our phones, and she’s not wrong. We all need to enjoy life for what it is, facing it head-on rather than giving into contemporary distractions

Track 3, ‘high on the internet’, is a masterful critique of modern society and its reliance on technology. Eyre criticises the superficial fulfilment social media brings; it does not actually contribute to our overall quality of life, simply leaving the pages of our life blank with doomscrolling. Playfully referencing how people “Can’t see nothin’ if [they’re] looking down”, Eyre clearly thinks we are all glued to our phones, and she’s not wrong. We all need to enjoy life for what it is, facing it head on rather than giving into contemporary distraction. As Jay Prince, the featured artist on the song, raps, “life’s too short, life’s too sweet”.  

One of the singles from the album, ‘domino szn’, is a shining moment for the RnB drums on the album, fully encapsulating the feelings of falling in love, before the chorus hits, loud and powerful, reminiscent of Eyre’s collaborative work with Sigala. Atmospherically fascinating, the song creates imagery of driving the curves and contours of the countryside, somewhere abroad, in the European sun: the roof is down, your hair is streaming behind you, hands in the air, and the love of your life is in the driver’s seat. ‘domino szn’ is an undeniable banger. 

Speaking of singles, ‘red flags & love hearts’ isn’t so great. While the vocals are up to the usual Ella Eyre standard, the lyrics feel a little weak compared to what we’re used to. The overuse of modern slang and buzzwords such as “red flags” and “gaslight” date the song: it doesn’t have the potential for longevity at all. On first listen, I was up, out of my chair, dancing in my bedroom, but having listened many more times since, the song becomes a little repetitive and boring.  

Conversely, track 7, ‘this shit hurts’, is an album highlight, from the heavenly backing vocals in the pre-chorus, to the stripped-back, sassy bridge. This song is the most similar to those featured on Eyre’s debut album, the nostalgia only amplifying the growth she’s had in recent years. Vocally, it is the most diverse on the album, and a song I’ll keep coming back to as there is something new to pick up on every listen. The instrumentation of the track is fascinating, there simultaneously not being much happening in terms of the number of sounds, but lots in the impact they provide.  

Life isn’t easy, but we have the strength to power through: we might face hardships and unexpected wrongs, but that is all part of life, only making us stronger for our next adventure

The record definitely experiences lulls, and, in the second half of the album, there are only two songs that I’d go back to, namely ‘little things’ and ‘rain in heaven’, the latter of these two being the best song on the album. In ‘little things’, the theme of fate returns, the track both lyrically and sonically reassuring, like a warm hug from your big sister. The final song on the album, ‘rain in heaven’, is unparalleled when compared to its predecessors, leaving fans with undeniable closure. Eyre sings “Paradise ain’t what it seems”, relating this well-known feeling to a relationship, but the song speaks to so many more situations people face, and it is this universalisability that sets this song above the rest. Life isn’t easy, but we have the strength to power through: we might face hardships and unexpected wrongs, but that is all part of life, only making us stronger for our next adventure, the record ultimately optimistic, embracing whatever life throws at us. 

Ella Eyre’s second studio album has ups and downs, much like the depiction of life it presents, and so the record could definitely have been cut down in order to make it more consistently enjoyable, sending songs such as ‘ain’t no love that blind’ and ‘space’ to the slaughterhouse. Nonetheless, everything, in time features the pop hits, emotional maturity, and crisp vocals that Eyre is known for; this album is definitely a must-listen for superfans. 

Truthfully, I was a little underwhelmed by the new album, but only because I had such high expectations. It’s a good body of work, but it does not compare to some of this year’s earlier releases from similar genres, such as Olivia Dean’s The Art of Loving. I’m excited to see where Ella Eyre is headed next, but – for me – everything, in time isn’t an album I’d return to soon: the highs are high, but overall the record isn’t revolutionary in the same way Feline was.  

Recommended Listening: ‘this shit hurts’, ‘rain in heaven’

★★

Listen to everything, in time here: