All Saints’ ‘Testament’ is proof they’re here to stay

testament

Stream on Spotify

Score: 10/10

Add to library: The whole damn thing

Maybe it was the ten-year gap between albums. Maybe it was the emotional gravitas Nicole Appleton’s tabloid-devoured divorce lent the songs. For whatever reason, 2016’s Red Flag gave All Saints the reboot they deserved. Testament isn’t blessed with a dramatic backstory, making its categorical brilliance all the more impressive.

This is simply All Saints at their creative peak. Unofficial fifth member K-Gee is back as producer, and ‘Pure Shores’/ ‘Black Coffee’ maestro William Orbit brings two tracks. Swirling electronica, 80s soul-pop, and tripped-out garage are among the many genres tested out, but they’re bound by meticulous percussion, a heavy low-end, and impeccable harmonies.

It helps that Shaznay Lewis is one of Britain’s most underrated pop songwriters. Love is the sole theme, and she paints it in all its forms. ‘Love Lasts Forever’ comforts a child nearing adulthood; ‘Three Four’ is a smutty sex romp; and ‘Don’t Look Over Your Shoulder’ escorts a freshly-dumped ex out of the house. 

The women relive their Orbit-helmed glory years on the transcendent ‘After All’. But ‘Testament In Motion’ points to an exciting future for both band and producer, with blissful balladry dissolving seamlessly into hip-winding electroclash.

Isolated from Red Flag’s PR opportunities, Testament makes All Saints’ raw talent impossible to ignore. In 2018, their boundary-pushing Britpop is even more audacious than it was in the 90s. Who among their peers can claim the same?

 

Years & Years refuse to obscure queerness on ‘Palo Santo’

Palo-Santo-artwork.pngStream on Spotify

Score: 8/10

Add to library: ‘All For You’, ‘Palo Santo’, ‘Up In Flames’

Years & Years introduced their second album with two uninteresting singles and a preposterous concept.

So it’s a relief that Palo Santo is a solid collection of tropical electropop, dripping with sweat, tears and charisma from frontman Olly Alexander.

The title refers to a pansexual metropolis that sprung from Alexander’s imagination, a place where androids rule, and humans are plucked from the streets to writhe around on a stage, using their flesh to provoke genuine emotion in an audience of automatons.

The accompanying short film is the kind of thing a person dreams up after eating a block of cheese and watching Blade Runner. It’s a lofty gimmick, but at least it’s one that articulates the record’s inherent queerness rather than obscures it.

What Palo Santo does successfully is depict the life of a socially mobile, twenty-something gay man in 2018. Across atmospheric ballads and glow-in-the-dark dance tracks, hookups (‘Rendezvous’), heartbreak (‘All For You’) and internalised homophobia (‘Preacher’) are each captured in golden melodies.

Like 2014’s Communion, images of Catholic flagellation appear as thinly-veiled metaphors for anal sex. When written to bouncy, playlistable beats – ‘Hallelujah’, ‘Preacher’ – they make for welcome additions to the band’s canon. First single ‘Sanctify’ exhausts the premise with a plodding tempo that had me checking my watch, but as the opener it’s inoffensive. 

Alexander brings an unapologetically queer perspective that deserves to be heard loud-and-clear. Trailblazing? Absolutely not. But his visibility shouldn’t be taken for granted in the current political climate.

Forget the sci-fi window dressing – by bucking heteronormativity, Palo Santo is a futuristic work in its own right.

Let’s Eat Grandma bend future-pop to their will on ‘I’m All Ears’

Lets-Eat-GrandmaStream on Spotify

Score: 10/10

This gifted duo from Norwich were just 17 years old when they released their first album. 2016’s I, Gemini made waves for fearlessly – if not seamlessly – blending prog-grunge with psychedelic synthpop. Expectations for follow-up I’m All Ears are high, but thankfully so is the budget.

Scottish musician SOPHIE is the intersection between underground and mainstream cool – working with everyone from Charli XCX to Madonna (and reportedly charging $10,000–20,000 a track). Despite only co-producing two songs (out of 11), she’s a savvy choice of collaborator.

Rosa Walton and Jenny Hollingworth’s vocals are parodically girlish, and scarily reminiscent of the hyper-feminine aesthetic SOPHIE weaponises in her own music. The pair’s creative bond has been maturing since they met aged four, and girl power permeates throughout.

Pre-release single ‘Hot Pink’ uses angelically angry harmonies to deconstruct the shortcomings of gender norms: ‘I just want anything and everything / Just can’t make it obvious’. SOPHIE dangles sickly-sweet synthwork like a lure, all before a crunching bassline takes the patriarchy in its jaws.

Let’s Eat Grandma’s strong way with melody isn’t fully revealed until mid-album cuts like ‘Snakes & Ladders’, a faithful reimagining of Portishead, and the lovely ‘I Will Be Waiting’.

This is thanks in part to Welsh producer David Wrench, who takes on the bulk of the album and simply gets the band’s elastic sound, deftly stretching and restraining it whenever necessary. Even at its most reserved, as on the chillingly sparse ‘Cool & Collected’ and ‘Ava’, I’m All Ears is unlike anything you’ll hear all year.