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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.
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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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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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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.