Earlimart covers a lot of ground in a short period on Everyone Down Here. The band swings with indie pop hooks and guitar layers. "We're So Happy (We Left the Piano in the Truck)" starts the album off in a strong, modern shoegaze vibe, much like Duster. Right away, the production becomes a focus that sets this record apart from the average indie rock record. Guitars are thick, basslines are driving, drums crisply accent, and male/female vocal exchanges and harmonies are always smooth in the layering. "We Drink on the Job" is the perfect noise pop song. This short song has a muted guitar intro, nice verse, huge chorus, and noisy indie guitars and keyboards moving throughout. "Hospital" utilizes piano and keyboards along with huge distant drums to create a haunting little melody. Earlimart is strong when the band builds and mixes up the tempos and styles. Everyone Down Here has the elements of a classic '90s indie rock record, touching on all of the major influences of that time, such as Pavement, Flaming Lips, Built to Spill, and Yo La Tengo. These are big names and a lot to cover, but the members of Earlimart make the music their own. They accomplish their own brand in the production and layering. Keyboards are specifically pointed on the off times. String arrangements, provided by Fred Lonberg-Holm, glisten at the appropriate moments for effect. Quiet background sounds/ditties flow throughout Everyone Down Here and connect the tracks, an avenue Earlimart should explore in the future. The midtempo tunes from the middle to the end of Everyone Down Here kind of lose the strength of the beginning. Fortunately, the record clocks in at just over half an hour, giving the listener the itch to listen again from the beginning.
AllMusic Review by Francis Arres