Brand new album from SWEDEN's Love Is All, now on Polyvinyl, Two Thousand And Ten Injuries is an eclectic collection of pop melodies, anchored by New Wave and punk rock rhythms, that are as refined as they are unpredictable. Highlights of the 12 track set include the art punk urgency of 'Bigger, Bolder,' the lilting pop of 'Never Now,' the Slits-like reggae of 'False Pretense' and the classic New Wave rallying cry found in 'Dust.' Two Thousand And Ten Injuries was produced, recorded and mixed at the band's home studio, Bananaflux, during the summer of 2009 by Love is All and Wyatt Cusick (ex-member of The Aislers Set and Trackstar). All told, Two Thousand And Ten Injuries successfully manages to be Love Is All's most adventurous, and dare we say, accessible, album yet.
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.
Singer Josephine Olausson sounds like a less precious Claire Grogan (Altered Images) – she’s equally as joyful as she articulates personal despair. She also recalls Gina Birch (The Raincoats) and wrongly forgotten singer Wendy Morgan of Brighton’s early 90s indie star-cleaners The Popguns, and you can really tell she’s from Sweden despite all the rush and clamour and such, the same way you can really tell The Concretes and Those Dancing Days are from Sweden. Being English, this is a massive plus. Sometimes (on Less Than Thrilled, for example), she affects a slight lisp as she turns ferocious, but that’s okay. It really is.
Her band dance and quickstep around her mannerisms with deftness and the assurance that only comes from having released two albums already – Two Thousand and Ten Injuries is this five-piece’s third. Drums clatter with 60s garage rock (The Rats, The Trashmen) finality. Bass scatters and tosses aside with post-Riot Grrrl (and early Rough Trade) duality. Everything is burned clean, fresh for the pickings – the lovesick A Side in a Bed, the hectoring Again, Again, the truly final cascades of album closer Take Your Time (close your eyes, count to 10 and dream, and it could be one of Yeah Yeah Yeahs’ finest moments).
This is such a great album.
The boy-girl harmonies on the tumultuous, accident-prone Early Warnings are crying out for a modern-age John Peel to play them 30 times in a row, on prime-time BBC and catapult them into the firmament of NME front covers, blanket coverage on 6 Music and Drowned in Sound beer-mats.
Where is the new John Peel we were promised, anyway? --Everett True
Find more music at the BBC This link will take you off Amazon in a new window