Out of this mire came the songs that would make up 'Get To Heaven', the album that changed everything for the band, taking them from critically acclaimed cult heroes to indie-rock giants.

And a masterpiece it is. Splicing together politically charged prophecies with unique interpretations of genre-bending alt-pop-slash-art-rock, it brought together the levity of jangling guitar and refreshingly complex drum rhythms, whilst also spilling out enough apocalyptic post-societal trauma to strike fear into even the most committed Puritan preacher.

This writing process created the formula that sparked 'Get To Heaven' into life and took the band from relative obscurity to mainstream success, with single 'Distant Past' becoming one of the biggest songs of not only 2015, but the last ten years. Featuring lyrics about yearning for simpler times pre-humanity, it's also chock full of electro-pop synth, techy distortion, and a huge arena rock chorus – proof, if it was needed, that nobody does doom-pop quite like Everything Everything.

'Get To Heaven' saw Everything Everything turn up the madness that they'd always had the potential to unleash, a potential that led them to work with "producer extraordinaire" Stuart Price, someone who leaned full throttle into Jon's swirling descent into insanity.

In many ways, 'Get To Heaven' is the unsung pioneer of today's indie-rock scene, one so heavily imbued with social commentary and disregard for boxed-off genre constraints. Amongst their peers, they were one of the few mid-2010s bands to take on The Man and succeed, with 'Get To Heaven' standing the test of time due to its unapologetically subversive message.

Apart from the undying passion of the band's fans, many of whom first came to adore Everything Everything because of 'Get To Heaven', there was a much more pertinent reason for this tenth-anniversary celebration: the ongoing pandemonium that is modern life.

Jon and the band were writing the album before Brexit, the first Trump presidency, the wars in Ukraine, Syria, and Palestine, Covid-19, and countless other humanitarian and political issues that came to define the last ten years.

All of the topics on 'Get To Heaven' – an incapability to cope with information overload in 'Distant Past', a feeling of hopelessness at a burning global picture in 'No Reptiles', the rise of far-right appeal in 'The Wheel (Is Turning Now)' – went from bubbling under the surface to flooding the headlines, a prophecy that Jon foretold yet was desperate to avoid.

Jon himself acknowledges that the reaction to 'Get To Heaven' when it was first released was instrumental in dragging him out of the darkness, helping him to feel as though he wasn't alone in the torment that his mind found itself playing out on a daily basis. This sense of community, one which ebbs away with each passing year, is something that he hopes to re-ignite in these 10th-anniversary celebrations.

There's no doubting that Everything Everything as an entity has stood the test of time, influencing a plethora of the new wave of alt-pop talent, including their All Points East line-up mate and Dork favourite CMAT. A festival line-up that combines the brightest new talent and those that shaped them ten years ago, it's a day that Jon can't wait to come around.

All Points East is just one of the dates that supports this 'Get To Heaven' birthday bash, coming alongside a tour that sees the band play the album in full, including B-sides that have never graced the stage.

"There are some songs like 'President Heartbeat' that we've never played live, so we should probably get in a room and actually rehearse them… but it keeps us on our toes." Before that, though, the band have a much more pressing and vitally important gig: Jon's wedding.

Ten years and what feels like 8,000 global crises later, how does Jon feel about 'Get To Heaven' now?

He pauses, "Actually, I might have spent some more time polishing the vocal on 'President Heartbeat'. I'm not thrilled with the vocal across the record, actually, but I guess it's raw and all that shit!"

The irony of an album about the demise of the capitalist status quo being the one that catapulted Everything Everything to stardom isn't lost on Jon – "It's my job to sell out, I guess" – but neither is the cultural significance of 'Get To Heaven', being one of the first indie albums to tear down genre boundaries and make whatever felt right.

Whilst Jon teases that there is new music being written, we're all very comfortable in the nostalgia that comes with this, harking back to the anti-glory days that birthed this landmark album. Here's to the next ten years. Let's hope it's just a smidge less bonkers, eh?