The Subways - All Or Nothing
Is there a more apt title for an album released this year? The fact that it’s come to this doesn’t make sense, but The Subways’ second album is without doubt a make-or-break record. This is a cynical, ridiculous business, where if a band takes three years between albums, the public and the press gradually forget that they exist, and their previous work slumps to a ?3 price-point in Woolworths. Such is the fate of The Subways’ debut, ‘Young For Eternity’, which was released almost exactly three years before this follow-up, ‘All Or Nothing’. The ignorant bystander could be forgiven for thinking that the band had split-up – they nearly did.
The change in album titles tells the story. The Subways have been through a lot, reshaping them as people and musicians. First, singer Billy Lunn was told he had nodules on his vocal chords. He needed surgery that risked not only his ability to sing, but his ability to speak. Fortunately, he made a full recovery, and has been reinvigorated by the experience. Then, in the midst of recording this new album, Billy and bassist Charlotte Cooper broke off their long-term relationship. Young for eternity? Not any more.
‘All Or Nothing’ sounds precisely like you’d expect it to sound – in a very good way. It sounds more mature, it sounds more aggressive. It’s a confident record that represents a band grasping the mettle, grabbing the opportunity, and running with it. This is the same band: ‘All Or Nothing’ is shot through with glorious sunshine-pop (perfect for its summer release date), but the power has been ratcheted up thanks, in part, to Butch Vig. When Rock Sound spoke to Charlotte back in 05, she named Garbage as a huge influence on her and the band, so having Vig in the producer’s chair must have been an incredible thrill, never mind his history with Nirvana and Smashing Pumpkins records, which also influence this album heavily.
Opener ‘Girls And Boys’ is their most powerful song to date, Lunn letting rip on his guitar, and Vig helping it to rush through the speakers with purpose and drive. There’s no resting on their laurels here, no subtlety, just a fantastic pop-rock masterpiece to convince any doubters. And boy is it welcome – we were in need of something mainstream to blow all of those shite little curly-mopped indie kids out of the water. Bye-bye Kooks. Bye-bye Pigeon Detectives. The Subways are back.
The huge choruses kick in from there on, and never let up. ‘Kalifornia’, ‘Alright’ and ‘Shake! Shake!’ are immediately loveable yet resound on through the hundredth spin; the acoustic segments of ‘Move To Newlyn’ and ‘Strawberry Blonde’ magnificently break up the flow of riffs; and ‘I Won’t Let You Down’, ‘Turnaround’ and ‘Obsession’ are vigorous as they crescendo, the boy / girl exchanges making the whole thing feel like the greatest party ever. The Subways have created a cracking album here, producing the goods when under immense pressure, and rising like a phoenix from the flames. Passion sears through every track, and hopefully it’ll propel them to the top – at last.
