Love Is All Love Is AllTwo Thousand And Ten Injuries
Love Is All has everything that a pop group should have. They sound frivolous, but they show themselves to be profound, they have a divine grace for catchy melodies and write songs that are intuitive, refreshing, and super-kinetic. All of their albums are a party. “Two Thousand and Ten Injuries”, their third, is almost identical to the two previous ones, “Nine Times that Same Song” (2005) and “A Hundred Things Keep Me Up at Night”, from 2008. At least, it’s equally dynamic and high-spirited. It never sets aside it’s spontaneity or pop aims, and amplifies only the good of what we already knew about Love Is All. Each and every one of its eleven songs gives the feeling of having arisen at the moment that you hear them. The spark takes instantly. Even so, and in spite of the publicity that tends to be given to anything from Sweden, our stars continue to be practically an open secret beyond the invisible borders of the 2.0 universe. Why? It’s impossible to explain.
More liberated than ever when it comes to writing an album—they recorded it without a confirmed label and in their own studio— “Two Thousand Ten Injuries” was recorded on a 24-track analogue tape with the aid of Wyatt Cusick, ex-member of The Aislers Set. Cusick takes care to maintain the ungainly, vintage, crunchy air that the group’s productions have always shown, as well as those of friends like Cause Co-Motion! or You Say Party. He was also the one responsible for giving them a new desire to open their stylistic range, found in “2010 Injuries”. You can see that the treatment of the songs is different, they are written now with more tact, thought out better, without ever leaving out their characteristic incandescent roar. Where this is seen most clearly is in “Take Your Time”, an appropriation of Pachelbel ’s “Canon In D Major” and one of the best-kept treasures of the year (also the album’s best-hidden, located at the culmination of the end). But we don’t have to look so far to find Love Is All to be as curious and applied as ever, and less strident than before.
Almost at the beginning, “Repetition” presents those who could be a new Bow Wow Wow, and “Never Now”, just afterwards, opens itself to the amplitude of perspective of a more mature Blondie. These are two instant examples that there is a lot to dig into behind their frenetic, big-headed appearance: zig-zag melodies, guitars like zippers, effervescent choruses, tickles as if you were eating pop rocks: “Bigger Bolder” and “Early Warnings”, two of the best songs, explode like fireworks and light up the whole sky. The oestrogen of The Au Pairs, Altered Images or The Slits (who they seem to wink at in the reggae party that is “False Pretences”) also seems to flutter in the air. With all of these and the more current The 126.96.36.199’s, they share that naughtiness that seems to make listeners feel like everything that happens in their music is fun and euphoric, all taking place without embarrassment.
But, do you want more? There’s some of everything here: from the most gum-chewing 60’s sound to the rebellion of Olympia, including new wave blow-out and 70’s post-punk abrasion. Everything fits in here, like Everett True said, in the idiosyncrasy of an album understood according to the technology of 2010, but soaked in all of the preceding decades. Because the only essential thing here is to have a good time, with spirited, unruly songs. Those of us who love pure pop don’t need anything else. Love Is All represents the paradigm of a band that has learned to grow without giving an inch in terms of what it aspired to when it first started out. A real example— after listening to Liliput with the same attention with which they studied Television, they have managed to design a non-transferable sound that fits them perfectly. Cristian Rodríguez