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The band's insanely catchy new disc Two Thousand and Ten Injuries combines the sound of early Nineties grrrl-punk acts bands like Huggy Bear and Bikini Kill with rich Sixties pop harmonies.
On its third album, [Love Is All] navigate[s] between art-punk damage and arsenic-laced bubblegum. Vocalist Josephine Olausson keeps the proceedings filled with blistering energy...Throw in some joy, a few gloriously scuff-up recordings, and a love of The Pastels and you can see why Love Is All is worth all the fuss.
Disco beats, post-punk sax honking, twee-pop boy/girl harmonies, and lyrics that rip your heart out. Yep, Love Is All is back.
...as if we needed more proof of how Love is All is utterly in control of its pop craft. [8/10]
Two Thousand And Ten Injuries find them touching all at once on the exuberant punk of The Raincoats, glorious 60s sunshine pop and the emotive soundscapes of the Liars and Yeah Yeah Yeahs.
The good news is that Love is All is nothing if not bold, and exploring this new direction could make this album a hit.
In a time when lots of modern rock bands are showing off their breadth, Love Is All has sneakily become notably, and skillfully, diverse.
The Swedish quintet's third full-length, a fizzy, exhilarating hybrid of bubblegum pop and bratty punk. For all her seeming eccentricity, [Josephine] Olausson is a crafty performer whose outbursts provide vividly specific snapshots of a full-throttle life.
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.
... 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.
