All Now emerges from a period of chaos for the band that was followed by a period of enforced quiet. The Staves released their third album, Good Woman, in February 2021; it was an album of love and loss, written during a disconcerting period of turmoil and pain. “There was a delayed reaction to trauma and these big changes out of your control,” says Jess of the period that came after Good Woman, as the band—like the rest of us—were forced to sit with their thoughts.The Staveley-Taylors were also still processing the death of their mother and other seismic changes: Emily took a backseat on this album (while still contributing vocals on a handful of tracks) to focus on motherhood, while Camilla reckoned with her own mental and physical health issues, including chronic pain and a series of operations due to endometriosis, which began to take an increasing toll.Struggling after two years of deep solitude and pain following the release of Good Woman, The Staves did what they know how to do best: they got back to writing with the idea of going back to basics and focusing almost solely on each other and their guitars as a starting point.It began with Jess, navigating this new landscape by harnessing her creativity on her own, at first in the studio in Hackney at the end of 2022, then slowly luring Camilla back to the next chapter of The Staves, before reaching out to Congleton, who the band had worked with on Good Woman.

A bullied teen receives mysterious help from someone online: a stranger soon revealed to be her recently deceased father, David, whose consciousness has been uploaded to the Cloud following an experimental destructive brain scan. David is the first of a new kind of being – an “Uploaded Intelligence” or “UI” – but he will not be the last, as a global conspiracy unfolds that threatens to trigger a new kind of world war.