All or Nothing

England’s The Subways are mysteriously unknown in the U.S., though they play huge festivals and have charted overseas; they’ve even landed songs on American television (The O.C.) and in movies like RocknRolla and Charlie Bartlett). This is the power trio’s second full-length record, following the impressive debut Young for Eternity. Whether it’s the major label behind All or Nothing or Butch Vig’s Big Grunge production, the album delivers a surprisingly commercial sound. (Maybe Vig had his Jimmy Eat World hat on for this project.) But fans of the band’s blissfully punchy debut will be rewarded if they give All or Nothing a chance. There are swooping, grimy guitars chasing rubbery, defiant bass lines (“Kalifornia,” “Turnaround,” “Obsession”), fist-in-the-air punk-pop exuberance (“Shake! Shake!”), and even acoustic-flavored tunes for breathing space (“Move to Newlyn,” “Lost Boy”). The first project following the romantic breakup of guitarist/vocalist Billy Lunn and bassist Charlotte Cooper, it may be that All or Nothing is the sound of a band finding new footing. We doubt they’ll lose their way.