Album Review: Two Thousand And Ten Injuries by Love Is All
Great, Based on 9 Critics
Filter - 85 Based on rating 85%%
Sweden’s Love is All has existed at times in some bizarre, post-punk record collector’s corner; where propulsive, manic rhythms reminiscent of The Fire Engines hit the art gallery funk of James Chance. On its third album, the group doesn’t so much tone this down as weave these elements into a more elaborate and adventurous record. Two Thousand and Ten Injuries was recorded on an analog 24-track and produced by ex-Aislers Set member Wyatt Cusick, who helps the band navigate between art-punk damage and arsenic-laced bubblegum.
Two Thousand and Ten Injuries buzzes with joy. Hardly surprising, since Love Is All are one of the era's great punk bands. But wait: Should you really use the word "punk" to describe a band with such obvious ambitions beyond the guitar/bass/drums baseline? Because if you've heard Love Is All, you know they're hardly formalists: disco beats, post-punk sax honking, twee-pop boy-girl harmonies.
Love Is All’s first two albums (2006’s Nine Times That Same Song and 2008’s A Hundred Things Keep Me Up at Night) were thrilling noise pop records that drew from post-punk experimentalism, twee pop sweetness, and punk rock energy, added hooky songs and rambunctious performances, and ended up making a glorious racket. It’s nice to report that their third album, Two Thousand and Ten Injuries, is the equal to the first two in quality, that it delivers the same level of thrills, and is packed from to top to bottom with excellent songs and fiery playing. The band took a more relaxed approach to writing and recording the album and it shows in the slightly more precise arrangements, the songs that sound more constructed than hastily slapped together, and the clearer production.
Considering how quickly the turnaround from indie superstar to trend has-been can occur, it is nice to have a band one can rely on.Love is All is such a band. Their third album Two Thousand and Ten Injuries continues a trend of quality and reliability that surpasses any other blog band around.A quick history: the band emerged with Nine Times That Same Song in 2004, a record that mixed 50s girl-pop with fuzzy art-rock and featured songs almost exclusively about relationships and the like. Their followup A Hundred Things Keep Me Up At Night came out in '08 and while it featured a few more disco numbers, it was essentially the same album.
Johnny Marr once said that he generally followed Plato’s sort of obvious but sort of insightful summation that all that really mattered in life was love and work. This troubled me at the time because I’d just graduated and suddenly found myself making mountains of egg mayo and cress or wilted bacon and out-of-date brie baguettes for a despotic petrol station overlord that would scowl through my arse-licking spit-spot ‘hellos’ and call me Matthew or Mitchell, despite my name badge, every time he came in to fill up his swaggering company car. That and the girl that I’d convinced myself I was in love with had apparently just wanked off Paul round the back of the waste compressor.
The third record is almost always a sure misstep. On a second release, it still works to just repeat the formula from the debut, especially if it was celebrated. Yet the third is “damned if you do, damned if you don’t”. You can cut ties from your previous, established sound and go into a new direction.
After Swedish indie rockers Love Is All finished touring in support of their second album, they found themselves without a record label and therefore free to write and record whatever they felt like. They've ended up with a follow-up that doesn't stray far from the compact, frenetic songs found on their previous work. [rssbreak] Vocalist/keyboardist Josephine Olausson's lyrics are still kooky and everyday endearing, and her voice piercing and hyper.
Great songs crying out for a modern-age John Peel to play them 30 times in a row. Everett True 2010 This is a great album: smart, thrilling, bouncy, imaginative, sussed, melodic, fiery, punchy, passionate, repetitive, and immersed in the technology of 2010 but the ideology of the 60s and late 70s (and early 90s Olympia, if we’re going to be exact). There are plenty of guitar hooks that do just that (hook), and a glut of soaring sky-bound trembling noises that manage to do everything Radiohead promise but never deliver – entertain.
For many years I have held the personal – and somewhat nerdy – belief that most music can be described by a bell curve. Yes, I am aware that even the mere mention of the word “curve” may trigger PTSD-inducing flashbacks to that college chemistry class or statistics in general. Nonetheless, it is important to note that music and math have long been intertwined – from the widespread shunning of the devil’s tritone by classical composers (It has six “satantic” semitones) to modern mothers’ insistence on touting the marvels of the Mozart effect.