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?