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It appears Billy Lunn’s vocal cords have healed. Following a risky surgery to remove nodules from his vocal cords, the lead singer of The Subways comes back yelling and screaming for the band’s sophomore album, “All or Nothing.”
“Girls and Boys” kicks off the album with an intense guitar mini-solo and lets listeners know the fun is about to start. With a newfound intensity, care of Smashing Pumpkin’s producer Butch Vig, Lunn and co. sound all grown up. Bassist and singer Charlotte Cooper gives listeners a fantastic contrast to Lunn’s shrieks. Cooper’s coos and harmonies behind Lunn’s harsh, guttural vocals add complexity to the tracks and create auditory interest.
The Subways pull off a multitude of genres through the course of the CD with distinct songs woven together to form a pretty decent finished product.
“Shake! Shake!” has the pounding bass, throaty vocals and insolent lyrics expected of an alternative rock piece. The song that follows is shockingly different. Sporting soft acoustic chords and a tambourine to boot, “Move To Newlyn” could be mistaken for a Belle and Sebastian single.
In the middle of the album, “Turnaround” brings listeners back to The Subways’ roots. All screams, riffs and drums, “Turnaround” is a post-punk revival at its most unexpected. The track feels out of place and struggles to hold its weight with the rest of the album. It becomes lost in a sea of more successful songs and is better left there.
“All or Nothing” is the quintessential example of mature sophomore album. The lyrical content is much more poignant than the group’s debut, along with an increasingly focused, grounded sound. A must-listen for fans and newcomers alike.
Grade: B+
Bangor Daily News