Everything But The Girl
Temperamental

THE REVIEW

EBTG, "TEMPERAMENTAL" (1999) or how to tackle Tunz-Tunz with class. This album represents to date the swan song of one of the most influential international pop groups: Ben Watt plus Lady Voice Tracey Thorn.

How much I miss Everything and how much I loved their discography! Up to and including this album, which represented the furthest point of that "dance-upbeat" turn started with "Missing-rmx (1994), continued with "Walking Wounded" (1996) with the previous "protection" of massive attacks. Many turned up their noses, let’s say the old-schoolers still tied to that new-cool that made Eden (1984) the little gem that it is. But for those who know EBTG, such a fascinating drift must have seemed predictable. The duo skillfully navigated through cool and pop (love not money), the orchestral (baby the stars shine), reimagined Donald Fagen (the language of life), and then moved forward with the synthetelia of "idlewilde" and "worldwide" up to the rigor of "Amplified heart."

On the other hand, when two people know how to write songs there are few stories, they can even take on a B-level genre like late 80’s discoclub (the future of the future) or the almost deadborn Drum&bass of "blame" and still come out on top. This album is appreciated because it winks at the floor but isn't showy. Because the beats are worked and polished by Ben until they are made smooth and "chunky" enough to dress Tracey's undisputed vocal texture. "Five fathoms" is of an overwhelming beauty as is the hype of the title track. And then there are the nocturnal and science-fiction ballads like "downhill racer" with those splendid sampled horns and the Bristolian "no difference". "Temperamental" is an album that few others could have made without seeming vain. EBTG succeeded in the work because they have talent and humility, uncommon qualities these days.

"Temperamental": play it during an intimate evening with friends and it will make your living room the protagonist of the 21st century. (cit.)