{$Band of Horses} is the phoenix ascending from the carcass of {$Carissa's Weird}, {$Ben Bridwell} and {$Matt Brooke}'s former band. (But what happened to the proposed November 16th?) While the penchant for beautiful melody is present everywhere here, that's pretty much where the similarity stops. Whereas their former project centered itself on slower-than-codeine-cough-syrup-on-a-cold-day, lushly textured sad-{\pop}, {$Band of Horses} is a full-on {\indie rock} band that writes and plays loud, raw, mid-tempo {\pop} songs and really loves {$Neil Young}. Gone are the slow, layered, weepy, singly tempoed songs of heartbreak and loss. No more violins, no more space, no more, no more. {$Bridwell}'s vocals are stretched here (and they could be mistaken for {$Wayne Coyne}'s or a young {$Young}'s on first listen), but he and {$Brooke} have a different m.o. here. They play a plethora of instruments between them, from banjos to pedal steels and piano, and {$Chris Early} pays bass along with an assortment of drummers that includes touring kit man {$Tim Meining}, though {$Sera Cahoone} (another ex-{$Clarissa's}) sits in the chair on about half this set. The ramped-up electric guitars are a welcome wind blowing through this heavier, denser music. Check the dreamy {$Chris Bell}-meets-{$Crazy Horse} {&"First Song"} or the snare-popping {&"Wicked Gil,"} with a killer six-string finale. {&"Funeral"}'s dynamic hints at something less meaty but then kicks into gear. It's nearly anthemic. There are more meditative moments, though. The {\country}-ish {&"Part One"} is acoustic and tender. But {&"The Great Salt Lake,"} which follows it, is simply majestic. There is a {$Beach Boys} melody in here somewhere (perhaps something extrapolated from {&"Sloop John B"}?) and {$Bridwell}'s vocal warbles dangerously close to {$B. Wilson}'s, but is much murkier -- a more blissed-out, distorted jangle-fest. {&"Weed Party"} is a silly, raucous country-rocker that crosses {$the Byrds} with latter-day Hüsker Dü. The closer is the spare, meditative {&"St. Augustine"}; it's as beautiful as {$Young}'s {&"Through My Sails,"} from {^Zuma}. {^Everything All the Time} isn't a perfect album. It gets a little long in the tooth in places and samey-sounding. The exuberance is the mirror image of {$Carissa's Weird}'s downer reserve; it's as if the fellas were trying really hard -- perhaps a little too hard -- to distance themselves from their previous incarnation. Nonetheless, it's a decent first effort that warrants repeated listening. ~ Thom Jurek, All Music Guide