Achieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.
Guitarist/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.
At times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer/multi-instrumentalist Gryffin.
Now, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.”
Guitarist/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.
At times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer/multi-instrumentalist Gryffin.
Now, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.”
