12million record sales, five primary singles, two multi-platinum albums and 2 Brit awards. The stats speak in their own business. Now All Saints launch their brand single ‘One Strike‘, released 26th February.
‘One Strike‘ is often a canny, charming reminder of all things huge swathes in the global pop audience loved about All Saints to begin with. The track is really a perceptible call to arms for anybody who experiences an individual moment, maybe a phone call or conversation, that changes your health completely. The song is defined against a lovelorn yet uplifting melody along with the most heart-breaking middle eight apt to be sung by any harmonious assembly this season.
Shaznay explains: “When I write, I just contemplate what’s in my mind. The lyrics got their start in somewhere very real. Nic was dealing with a lot of things in those days. That was the main topic on my mind because doing so was the heaviest thing taking.” The song was written to be a direct reaction to the younger Appleton sister’s marriage dissolving. “We spoke all night and hours on the phone,” Nic says. “The initial times I heard it within my car,” says Nat, “I couldn’t stop crying because I could hear so clearly exactly what it was about.”
The single will probably be followed by their first album in a very decade, ‘Red Flag’, released April 8th. After the touring the UK in 2014, All Saints resolved some thing they never imagined they would again, and wrote, recorded and produced a whole new record. It was not made without massive prior consideration. “We didn’t force ourselves into this,” says Natalie, “and it couldn’t have happened at the better amount of time in all of our lives. I just missed being together with the girls. It makes us happy. Listen, when you can work with your favourite people, then have you thought to? I have this sort of good some time and I spend more time laughing and getting fun than I do working.” “The album,” says Shaznay, “could are already made a lot quicker if we’d spent much less time joking around while rendering it.”
It sounds great to get them back, reminding you of something you experienced perhaps forgotten you missed quite so much. What is so special around the new record is when contemporary it sounds without ever losing the core essence of All Saints, forever involved with the magical conflagration in their four voices. This is what they actually.
“Seriously,” says Shaznay, “I got on this type of roll writing and recording with all the Girls again, we’ve started getting material for an additional album together already. This couldn’t feel much more right.”
As they turned using their company teens thus to their twenties, All Saints were the symbolic British girl-band gateway on the new millennium. They were an irrepressible, immediately identifiable gang that might mascot us through to your 21st century. With music touched using a panoply of sharply honed influences, from The Shirelles through 90s rap, disco, slouchy club electronica and touched all over with all the proximity the ladies grew up to Notting Hill Carnival, these folks were the flip-side on the tween-pop sound of these peers.
Now 19 years after their debut instruction, against several striking odds, All Saints specifically where it’s at again.