Polar – Everywhere, Everything (Review)

This is the fifth album by Polar, a UK Hardcore band.

Having really enjoyed 2016’s No Cure No Saviour and 2019’s Nova, I’m pleased by Polar’s return.

Everywhere, Everything takes Polar’s existing sound – heavy hardcore with melodic and emotive highlights – and broadens it further into post-hardcore waters.  Of course, these are waters that Polar already wade in, but on this new collection of songs they venture deeper than ever before. As such, on this new album you’ll find a greater range of textures and colours spread across its 40 minutes.

In practice this means lighter moments of introspection, increased use of clean singing, and more atmospheric components all join the muscular riffs, harsh shouts, and gang vocals that we’re used to. The album is, overall, less heavy, (although there are still plenty of burly riffs), and more mood-based, delivering a balance of old and new that works for the band. With this greater use of atmosphere have also come shoegaze and post-metal elements; these aren’t yet a huge part of Polar’s sound, but they’re there, and have made an impact on certain tracks.

The songs are catchy and memorable, with well-written hooks and plenty of passion and emotion. This is anthemic music that’s uplifting and hopeful, but without coming across as twee. The band’s singer is on top form, and his vocal performance has expanded. Long-time collaborator Ellie Price is used a bit more too, and her contribution should not be understated.

Everything, Everywhere is a good step forward for Polar. It is enjoyable and well-crafted, bringing an increased atmospheric and personal touch to the band’s music. This new approach has paid off, and Everything, Everywhere is highly recommended for any fan of hardcore or post-hardcore.