“Everything Inbetween” covers the making of the album “Ellipse” from the very first ambitious plans of travelling around Asia and the Pacific writing a song a week, to building her recording studio, glimpses into the recording process and plenty of fun homely stuff for good measure.

What comes across in this documentary is that Imogen is an artist through and through. Her creative processes soar and dive, she worries, she doesn’t always have full confidence and she is absolutely driven to create what’s spinning inside her head. When its working, she’s absolutely heleriously delerious and your busy getting excited with her as she discovers new sounds and harmonies. When its not working at all your also with her feeling her annoyance and solitude. It’s really captivating to go on such an epic journey with an artist you thought you know quite well and constantly discover new things.

It also makes you go back and appreciate Ellipse even more. I’ve been a massive Immi fan since 1998 when I saw Come Here Boy on the TV (actually I only saw the second half of the song and was so entranced I begged my mum to take me to the record store that week to buy the album with my pocket money) but I felt like now I really got to know her, and it was like hearing Ellipse for the first time again.

It also struck me that even the very first versions of the songs that you hear snippets of were phenominal before they recieved the Immi treatment. That’s the sign of a quality singer/songwriter.

“Everything Inbetween” is an emotional rollercoaster that any fan of Heap, music production or just documentaries in general would absolutely enjoy. It’s captivating from start to finish and as a struggling singer/songwriter myself its great to know someone else feels the same things I feel too.

Having what was a piano based album that was drenched in guitars, noises and preluding synth extras taken down into bare bones shows each song in a different light. “Getting Scared” changes from a building pulse to a rip roaring stop/starter with passion and energy, whilst “Sweet Religion” slips and slides at such a speedy rate, my favourite song from the original album takes on a superhero plight. Little Heap anecdotes into what the songs about also give you new insight into the tracks too.

“Oh Me, Oh My” feels much more desperate and less like a devine moment and “Shine” gives you a complete Immi freak out! Her story about Shine also makes me laugh because she talks about having water in her ears when she was crafting the song and when you go back to hear the start of the song on the album, there’s a nautical opening throbbing. “Shine” really sounds like a completely new song and is utterly amazing.

“Whatever” is transformed too, while “Angry Angel” loses none of its feriocity with its guitars stripped away. With Heap’s tendancy these days to play songs with all kinds of instruments all at once, it’s a beauty to hear her just alone with piano again sometimes. “Candlelight” is one pure example of a beautiful track that deserves more attention. So emotive and simple, it’s a timeless piece. “Rake It In” is utterly nuts! The original was like a manic fairground ride, and this version see’s Immi screaming and moaning like a cheesy hammer horror movie. It’s so dark and delicious all at once!

“Come Here Boy” is the one song really carried forward from this era and is faithfully recreated. “Useless” is completely revamped and sounds brand new and “Sleep” is just as pretty and sparse as the original.

In addition, some b-sides are included including my favourite b-side scorcher “Leave Me Here To Love” which is fantastic to finally hear live in all its raw glory – a real personal highlight. “Blanket” is an unusual choice as it was her collaboration with Urban Species and includes a rap! Finally “Kidding” closes the set with a flowing channel of emotion through voice to fingers to ivory and out again.

Some people aren’t fans of stripped down performances. Going from this iMegaphone Live album, I have no idea why. Each song is organically revolutionized into something new and indulgent. With Imogen’s new sound, she gets to experiment with everything and that’s great, but with this more intimate side, you really get the best of both worlds.