The Early November’s first collection of songs, For All of This, serves as evidence of their potential and relevance. Even with its limited offerings, this EP utilizes every available and likable TEN characteristic. The musical variety and intense coverage allow this album to be relatable and involved. Not to mention that TEN’s creativity and personality dominate the songs, allowing a sentimental stamp.
For All of This really focuses on two different aspects of the same ideal, essentially the ugliness of failure. These songs allude to the emotional cycle that occurs after something has ended, explaining hatred – towards the self or others – as well as strength, about moving forward. The examples become apparent with the very first song, “Every Night’s Another Story.” This track employs a heavier display of music, making an angrier sound and allowing for an appropriate rise of emotion. This song details self-exploration and deprecation, with added self-pity through lines like, “well I will wait for you for days/well I will wait for you forever.”
However, second track “I Want to Hear You Sad” offers a complete turnaround. The melody still plays a pivotal part in completing the story, but it offers a little more. Its smooth transition suggests simplicity, but the chorus takes on a life of its own with more emphasis. Meanwhile, the lyrics focus more on empowerment and strength. Lines like “for all of this/I’m better off without you” create the tone while descriptions like, “this ride is drifting slowly to the side/we’re swerving off the road/going past the cones that warned us from the start” allude to the plot, giving the song substance and stability.
The rest of the EP continues on with similar elements. “All We Ever Needed” includes declarations of love and rejection with lines like, “And I know it’s not fair to me/to see this love walk right by me/every day, will we ever meet the right way.” “Sunday Drive” promises to stir emotions with its acoustic background and emotional descriptions. Summaries like, “And we wait above a road/we’re turning to go home/and the silence from the side of the car/tells me everything and how we are/cause there’s no more trying to make this so right/there’s no more trying tonight” construct ambience and feeling. “Take Time and Find” is encouraging and loud, while the upbeat melody and supportive lyrics of “Ashala Rock” create pleasure. The ending tracks, “Come Back” and “We Write the Wrong,” add a unique ending to this collection, giving it a groovy yet calming finish. “Come Back” sings of sadness, but closer “We Write the Wrong” offers self-improvement and hope. Equipped with an additional three-four minutes of exceptional music ranging from hectic to serene, it’s an added bonus and an appropriate end.
Through all my mumbles, the one thing I really hoped to express about this album is the effort put into it. The Early November’s ability to add personal flare or the extra steps taken to ensure the songs are comprehensible and relatable should be rewarded. This little EP seriously packs a big punch, something not to be overlooked.