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.
Available to buy from iTunes.
Review: “I just can’t blend in…” Katy B laments as Little Red begins to wind down; a dangerous statement to make considering even her biggest fans would struggle to label the chirpy Brixtonian as an extrovert. One of the most refreshing things about her 2011 debut On a Mission was how she reclaimed partying for the people, breaking down the myriad emotions of a night out over racy house beats in a way that only a quasi-wallflower could. In an interview with The Quietus back in February, Katy explained the fate of “Hot Like Fire” – a sexy, raucous blast of attitude that positions the usually modest singer in a whole new light. But her account rather ironically paints her as disappointingly passive; apparently Geeneus, her producer and co-manager, was “unhappy with his bassline. Or something.” And so a potential game-changer festers on the deluxe edition.
Katy’s loyalty to the Rinse FM honcho is understandable; his continued guidance has yielded a cleaner, more well-oiled machine than her debut. Singles “5 AM” and “Crying for No Reason” showcase the album’s duality of dancefloor-ready bangers and gusty, synth-laden balladry. Katy once again thrives on tracks driven by intimate, often internalised scenarios. Jessie Ware joins her in confronting a DJ boyfriend’s temptress on “Aaliyah”, “5 AM” examines a post-party panic attack, while the clattering anxiety of “All My Lovin’” retraces those final steps towards an all-consuming desire.
The success of “Crying…” has most likely led to a mellower record than originally planned, but in a manner appropriate for a record once plagued by pushbacks and an aborted lead single, Little Red rewards perseverance. Both the greasy, hi-hat-heavy slog of “I Like You” and the aimless clipped beats of “Sapphire Blue” explode in their final stretches. In the latter, Katy takes a potentially banal breakdown (“No more walls / No more doors / No more windows / No more floors”) and sells it with a passion unheard of from her contemporaries. Whatever she may lack in showmanship, Katy more than makes for in her ability to transform what once bordered on filler material into an album highlight. Little Red deserves to be massive.