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The Subways probably spent most of the time touring their debut album, 'Young For Eternity' pinching themselves, wondering if they would wake up from the dream that their lives had turned into. Spend five seconds with frontman William Lunn, and you'll know exactly what i mean. You'll do well to find a more humble and honest individual on this planet, and you'll be doing even better if you can find someone that enjoys their job as much as Lunn. You've probably got a better chance of winning the lottery.
Album number two for The Subways was always going to be difficult. The success of their debut, and their rise to fame through supporting music giants such as Foo Fighters had all built pressure on the band to deliver a juicy second full-length. But it's important to mention that the biggest pressure was internal from Lunn, Cooper and Morgan. Their determination to exceed expectation and push themselves is something that Lunn says was the only way they wanted to make this record. Talking to Lunn about the new album shows his inquisitiveness into every single dimension of their music, his self-fascination of their art, but all in such a humble manor, which believe me, is very rare in this industry.
To top it off, as the band were writing 'All or Nothing', Billy and Charlotte's relationship was stretched to breaking point. They sadly decided to call it a day, and somehow managed to continue working together to go to L.A to record the album with Butch Vig. 'All or Nothing' was probably a question they asked themselves, and thank god they chose 'All', because what they have managed to deliver, is quite something.
Opening with their download only album-teaser 'Girls & Boys', you're thrown straight in at the deep end. Massive, massive riffs and soaring hooks make this a great album opener. 'Kalifornia' follows in pretty much the same fashion with a huge opening riff, nice little break-down chorus and hooky bridges.
Next up is the radio-friendly 'Alright' and then it's back to riff city with 'Shake! Shake!' with Lunn singing "I'm calling out to you from the basement. I've got a need to feel, so Shake! Shake! You got a problem with me, say it. I couldn't care if we lose" with Lunn referring to his relationship struggle with Cooper.
'Move to Newlyn' is a more acoustic and folky affair with gorgeous backing vocals and then it's the album-titled 'All or Nothing' that sees Lunn again referring to his relationship with Cooper; a theme that runs through most of the lyrics on the album and something that Lunn tells us "was impossible to ignore", explaining that a lot of this record is about their break-up. 'I Won't Let You Down' is another highlight with its punchy chorus but the best on the track has to be 'Turnaround'. Starting with a Foo Fighters-esque guitar riff, Nirvana-esque verse, back to a Foo's-ish bridge leading into a massive Subways-patented chorus not only encompasses some of their biggest influences in three minutes, but also makes 'Turnaround' one of the songs of the year. If this isn't released as a single, it'll be a crime.
'Obsession' is typical Subways and next up is 'Strawberry Blonde'; a frank and honest reflection from Lunn about himself. 'Always Tomorrow' is more of a tame, indie effort that sees Lunn and Cooper harmonising the verses together.
Closing on the acoustic and very English 'Lost Boy', All or Nothing is a fantastic little collection of songs from The Subways. Make no mistake, this is a massive step forward for this band. This record might be littered with little acoustic-indie dittys, but this is predominantly a rock album filled to the brim with hooks, riffs, fills and screams. It's an unbelievably honest account of Lunn and Cooper's relationship breakdown and a footstep into new territory for the The Subways.
'All or Nothing'? It's definitely 'All'.
Reviewed by Phil Storey
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Monday 7th July 2008
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