Out 23rd March on What's Your Rupture
Love is All celebrates the release of A Hundred Things Keep Me Up At Night with European and North American tour dates throughout 2008 and 2009. In addition to the album, What’s Your Rupture? is proud to issue “Wishing Well” as a seven-inch single, curiously backed with a cover of Faith No More’s hit “Epic,” and a limited-edition EP of covers, featuring songs originally performed by Prince (“Darling Nikki”), Lung Leg (“Kung Fu On the Internet”), Jed Dmochowsky, Dire Straits, and A Flock of Seagulls (“I Ran [So Far Away]”).
Three years of succumbing to the fate of hype, broken promises and seething expectations have led to A Hundred Things Keep Me Up At Night, and you hear it in every song on the album. The group’s fanciful anachro-charm has matured with the marriages, children, and friendship within its membership – that same raw energy is present, but it’s been magnified through the complex emotions and experiences that they’ve struggled with. Sugar-sweet melodies are once again played at furious, can’t-sit-still tempos, like in “Movie Romance” and leadoff single “Wishing Well,” charged with the same brand of riff that lifted up the Clean’s “Tally Ho!” But listen closely and you’ll hear strains of sadness within, the sounds of what the demands of a public life can do to private people. Those things keeping them up have to do with the unsatisfying realities of success, as placed against true love and compassion. It’s a record about excitement, frustration, joy and disappointment hitting all at once, five people trying to figure out what’s important in finding the relief of the morning’s light at the end of a bad night’s sleep.
From out of nowhere, Love is All arrived in 2005. Their debut album Nine Times That Same Song pushed its members – vocalist Josephine Olausson, guitarist Nicholaus Sparding, bassist Johan Lindwall, drummer Marcus Gorsch, and saxophonist Ake Stromer – into the spotlight as actively touring musicians, covering the globe with energetic live shows full of raging, dancing crowds and good vibes throughout. These shows recalled not just the overjoyed indie pop the band have been known for, but also the immediacy of second wave ska (Madness, Bad Manners) as it dovetailed into punk and new wave, the shocking pageantry of Bow Wow Wow, and an anthemic sincerity in songs that “Make Out Fall Out Make Up” that no other groups have been able to replicate. And then … nothing.
The band have spent their time away refining their frolicking approach to indie-pop with a tougher, leaner bent than before. The hooks are still there, some with a new, chilling sheen to them, making a sound suited for big rooms and mass celebrations. Others smash right through. What was once a bedroom pop odyssey gone wild has become a party that’s spilling out of the room, chaotic and delirious, with a free and inclusive spirit running up against Sta-Prest ideals and a lack of compromise consistent with the group’s spastic mode of laissez-faire.
They just want to be happy, you see.
Three years of succumbing to the fate of hype, broken promises and seething expectations have led to A Hundred Things Keep Me Up At Night, and you hear it in every song on the album. The group’s fanciful anachro-charm has matured with the marriages, children, and friendship within its membership – that same raw energy is present, but it’s been magnified through the complex emotions and experiences that they’ve struggled with. Sugar-sweet melodies are once again played at furious, can’t-sit-still tempos, like in “Movie Romance” and leadoff single “Wishing Well,” charged with the same brand of riff that lifted up the Clean’s “Tally Ho!” But listen closely and you’ll hear strains of sadness within, the sounds of what the demands of a public life can do to private people. Those things keeping them up have to do with the unsatisfying realities of success, as placed against true love and compassion. It’s a record about excitement, frustration, joy and disappointment hitting all at once, five people trying to figure out what’s important in finding the relief of the morning’s light at the end of a bad night’s sleep.
From out of nowhere, Love is All arrived in 2005. Their debut album Nine Times That Same Song pushed its members – vocalist Josephine Olausson, guitarist Nicholaus Sparding, bassist Johan Lindwall, drummer Marcus Gorsch, and saxophonist Ake Stromer – into the spotlight as actively touring musicians, covering the globe with energetic live shows full of raging, dancing crowds and good vibes throughout. These shows recalled not just the overjoyed indie pop the band have been known for, but also the immediacy of second wave ska (Madness, Bad Manners) as it dovetailed into punk and new wave, the shocking pageantry of Bow Wow Wow, and an anthemic sincerity in songs that “Make Out Fall Out Make Up” that no other groups have been able to replicate. And then … nothing.
The band have spent their time away refining their frolicking approach to indie-pop with a tougher, leaner bent than before. The hooks are still there, some with a new, chilling sheen to them, making a sound suited for big rooms and mass celebrations. Others smash right through. What was once a bedroom pop odyssey gone wild has become a party that’s spilling out of the room, chaotic and delirious, with a free and inclusive spirit running up against Sta-Prest ideals and a lack of compromise consistent with the group’s spastic mode of laissez-faire.
They just want to be happy, you see.
