From the opening salvo, "Everytime" announces itself as a full-throttle assault on the senses. The track barrels forward with the urgency of a fairground ride gone catastrophically wrong—all grinding gears, buckling safety rails, and the distinct possibility that you won't make it out in one piece. Pejic understands that the best rock and roll should feel slightly unsafe, and she's engineered this song to maximise that visceral thrill.
The production—courtesy of Console Lole in the Basque Country, receiving Pejic's compositions via a charmingly eccentric transatlantic pneumatic tube system—captures every jagged edge and molten detail. The bass line gargles and rumbles like something dredged from the earth's core, anchoring the track while simultaneously threatening to pull it apart. Meanwhile, the guitars sound less like instruments and more like industrial machinery being violently repurposed: garbage can lids hammered into service, rattling up and down the fretboard before collapsing into heaps of crushed tin at the song's foundation.
Pejic's compositional instincts draw from the heaviest wells of stoner and acid rock. Monster Magnet and Blue Cheer loom large as reference points, but this isn't mere homage or derivative worship. "Everytime" channels that lineage while carving out its own territory, one where psychedelic excess meets garage rock rawness. The track manages to feel both meticulously constructed and perpetually on the verge of collapse—a delicate balance that few artists can maintain.
When the synthesizer solo arrives—heralded by a cry of "Take it!"—it's shrill, abrasive, and oddly soothing all at once. Pejic clearly knows her Who's Next deep cuts, and she's deployed that knowledge with surgical precision. The synth doesn't smooth over the track's rough edges; instead, it adds another layer of texture to an already dense sonic tapestry. It's the kind of moment that rewards repeated listens, revealing new details each time you strap yourself back into the ride.
The imagery conjured by "Everytime" is vivid and unrelenting: paint-chipped fuselages, red-hot lava crests, the earth falling away beneath your feet. This is music that demands to be experienced physically, not merely heard. Your internal organs will indeed relocate to your throat, and you'll thank Pejic for the privilege.
As the final track from the forthcoming full-length Latitude Bera, "Everytime" sets impossibly high expectations. If this is the crowning achievement, one can only imagine the molten mayhem that precedes it. Pejic has clearly spent her time well between Maine, the Basque Country, and New England, absorbing influences and getting gloriously lost in the creative wilderness. Her background as a musician, songwriter, artist, and language teacher has informed a sensibility that's both worldly and wonderfully unhinged.
Riffindots' pneumatic tube recording process might sound like whimsy, but the results speak volumes. The geographic distance between Pejic and Console Lole has somehow produced a sound that's impossibly tight yet beautifully frayed at the edges. It's a working method that mirrors the music itself: unconventional, slightly mad, and undeniably effective.
"Everytime" is a triumph of unapologetic rock excess. It's loud, messy, thrilling, and utterly essential for anyone who believes guitar music still has the capacity to surprise and exhilarate. Britta Pejic has crafted a modern classic that honours the past while sounding entirely of the present. This volcano won't stop erupting anytime soon.