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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?
Available as a free download from All About She’s Official Bandcamp
Review: We’re sure there’s a debate to be had over the validity of criticisms levelled at work an artist has chosen to give away for free. Those who believe music to be still worth paying for do so because they’ve come to equate a certain price tag with a certain standard of quality – take the fiscal aspect away, and who are we to expect a knockout product?
It’s a minefield we’re not compelled to enter here, as a quick listen to this buzz release from All About She sees the London neo-garage-house trio emerge practically unscathed. The title proves to be indicative of the six-track collection; Go Slow comes to life at a leisurely pace, as if waking up hung-over in a dew-drenched field. Neither “Remedy” or “I Can’t Wait” aim to replicate the high-octane thrill of their late 2013 hit “Higher (Free)”, driven instead by padded basslines and singer Vanya Taylor’s soft, inviting tone.
The latter breezes by with an appearance from Jacob Banks and lashings of a music box-styled xylophone, but it’s only on the thumping “All Night” that the party truly starts. It’s followed by “Happiness”, a dark, bare-bones bop in which in which Taylor emotes for the Gods, complete with a “No, no, no!” refrain that’s almost impossible not to waggle your index finger to.
The only conceivable obstacle facing All About She (which is also includes producers James Tadgell and John Clare) could be the repetition of flourishes – chiming instrumentals, lush if overused harmonies – that run not only throughout Go Slow but also Sasha Keable’s charming Black Book EP, which the group produced last year.
But for now All About She seem more than content with their identity. When a grizzled voice states “this is me” at the end of ambient come-down joint “C’est Moi”, concerns over this free EP’s worth seem redundant. You simply can’t buy this kind of self-assurance.