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That we're still able to observe the funloving side of the band while also getting to see that there's more to them than that is what makes Two Thousand and Ten Injuries such a charmer. That their compositions sound more precisely constructed and flat-out better this time out doesn't hurt either.
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In a time when lots of modern rock bands are showing off their breadth, Love Is All has sneakily become notably, and skillfully, diverse.
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Under The RadarAs the hushed, but bubbly bass and stuttering snare give way to cavernous, shouted outero, Love Is All flaunts its expert capacity for restraint and tension-building--as if we needed more proof of how Love Is All is utterly in control of its pop craft. [Winter 2010, p.64]
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Two Thousand and Ten Injuries buzzes with joy.
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Many bands start to lose their way around the time of their third album, but on Two Thousand and Ten Injuries Love Is All sound better than ever and well-positioned to keep making smart, hooky, passionate records for a long time to come.
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On its third album, the group doesn’t so much tone this down as weave these elements into a more elaborate and adventurous record.
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Good as a heartbreak-balm, an above-average way to spend a night in bed or just something to dance with your special lady / man / whatever to, Love is All's latest proves that they can be counted on to bring quality pop, no matter what.
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With Two Thousand and Ten Injuries Love Is All have created another master class in yearning, defiant, confused and lovelorn indie-pop, the sort of record you wish you had by your side when you were stuck re-heating cheeseburger puffs* for minimum wage in one of Essex’s premier petrol station.
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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).
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Minor grumbles aside, however, Two Thousand And Ten Injuries is a deliriously fun listen, one that manages to suck you into its own little world for half an hour.
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All 12 tracks on Love Is All’s new LP Two Thousand and Ten Injuries provide instant intrigue, and after 20 listens to the album – it’s that addicting--not one of the songs managed to lose its initial charm.
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[Love Is All frontwoman Josephine Olausson's] aim is true on the Swedish quintet's third full-length, a fizzy, exhilarating hybrid of bubblegum pop and bratty punk.
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Every song comes and goes in less than three-and-a-half minutes (and most in a lot less) as the band makes up in ramshackle charm what it lacks in glossy production.
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Ten Thousand and One Injuries maintains a relatively tepid pace compared to their previous efforts, but Love is All haven’t exactly mellowed either.
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The record is a winning release, if not entirely novel, and the sound of a likable band honing their sound while refusing, somewhat obstinately, to alter it.
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Q MagazineTen Thousand and One Injuries works best when the frenetic pace eases up a little. [May 2010, p.122]
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Turns out they’re adept at sad, moody ambience. Wish they tried it a little more often.
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My frustration is simple: not only does the record’s production drag down what could have (probably) been good songs, the band deliberately downplays its two best players, and everything suffers as a consequence.
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Love Is All have turned down the sax, exchanging many of their former bursts of spunk for half an album that’s tighter and more heartbreakingly anthemic, and a remainder that drifts into directionless tedium.