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All Or Nothing


All Or Nothing

Fourth album from the London-based DIY post-punk trio produced by Nick Sylvester

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  1. 8.0 |   music OMH

    Its genesis was borne of urgency, and that’s a feeling that permeates every aspect of an album that positively twitches with energy
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  2. 8.0 |   Uncut

    A taut, lean 30-minute manifesto of a record which contains some of their most tuneful, groove-oriented songs yet. Print edition only

  3. 8.0 |   Q

    They make modern life's drain and strain exhilarating. Print edition only

  4. 8.0 |   Exclaim

    It's an album that just can't wait to be released, to spread its way through a gathered crowd — and, at last, to watch the motion begin
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  5. 8.0 |   DIY

    It retains the amazing sense of propulsion and momentum the group have made their own
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  6. 8.0 |   God Is In The TV

    Musically the album is as sleek and purposeful as a set of Bang & Olufsen speakers. It’s got a clubby eighties feel, all crimped phones, leopard-print hair, and vaporously swirling shoulder-pads, and is imbued with a spirit of dance-floor rebellion
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  7. 7.8 |   Paste Magazine

    Their most articulate record to date
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  8. 7.8 |   Pitchfork

    The disco-punk trio’s new record leans more heavily on synthesizers and drum pads, but stops just shy of redefining the group as a synth-pop band
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  9. 7.5 |   Under The Radar

    Dance is the operative word across this tight 30-minute release, synths entering the spartan mix in an even more prominent way
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  10. 7.0 |   All Music

    All or Nothing is undeniably impressive, but at the cost of some of the heart that's as vital to Shopping's music as their brilliant interplay
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  11. 7.0 |   PopMatters

    On All or Nothing, Shopping continue their hot streak of fiery straightforward "back-to-basics" post-punk with some added keyboards in the mix
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  12. 6.0 |   The Skinny

    Shopping add an electronic edge to their post-punk sound, offering a soundtrack for the frustrating times we live in
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  13. 6.0 |   The Observer

    The harum-scarum interplay of male and female vocals against the staccato guitar of No Apologies, or the naive synths of For Your Pleasure, create an impetus that is, at moments, irresistible
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