Olive
Trickle

The Olive are one of those cases where the name perfectly reflects the style and musical offering of the group; formed in the late '90s during the full trip-hop boom, this trio and later duo from the UK managed to propose electronic pop with evident soul/quiet storm influences that is simple, understated, refined, and very elegant. A classy offering without being unnecessarily pretentious and sophisticated, not the type of music to seek out easy thrills, strong emotions, or "cathartic moments," definitely not the type of music to flaunt to show how alternative, knowledgeable, or hardcore one is, but perfect for moments of relaxation and harmony, for those who know how to appreciate allure even when it comes in more subtle, discreet, and measured forms; Olive is a must. And if you've had enough of reading about the latest Led Zeppelin or Vasco Brondi, the duplicates and the usual bland flames (yes, I know it will never happen but let me hope at least!), then I officially welcome you to this humble review with an ideal kiss on the forehead.

Olive had a short life, and their discography is exhausted in two albums; unfortunately or fortunately? On this we can only speculate, that's simply how it is, the multi-instrumentalist and composer Tim Kellett decided to end this project to work as a producer in lower-profile but certainly more lucrative fields, as far as I'm concerned I've happily passed the "pure soul" stage, this is business and everyone is free to make their own choices. "Extra Virgin" from 1996, their debut, was a good album, rich with interesting solutions and well-driven by a strong single like "You're Not Alone," but it had the flaw of being inconsistent, with a few too many empty moments, "Trickle" is a bit less ambitious in intent but overall it is more homogeneous, successful, and enjoyable. Certainly not the ideal listen for those seeking originality at all costs; listening blindly, one might think of an electronic Sade album, thanks also to the warm and velvety voice of the very talented Ruth-Ann Boyle, and to a distracted ear, it might seem a bit static and monotonous, but these are "programmed" flaws, they are an inevitable downside, but for what its niche is, "Trickle" is practically perfect, a full hour of velvety and soothing music.

Like it or not, de gustibus, one cannot deny that "Trickle" has a very well-defined personality. Tim Kellett and Ruth-Ann Boyle were very clear about the type of album they wanted to make, and they realized it without hitches and distractions, or at least that's what I perceive from the harmonious and rounded fluidity with which the album flows. The most characteristic feature is surely a soft and velvety mood, which almost never indulges in those overly ethereal and rarefied atmospheres (personally not to my liking) that had dampened the previous "Extra Virgin," but at the same time, it maintains a style consistent with what was proposed in their debut album, without succumbing to the upbeat and dancey allure of more commercial and conventional pop. Despite its sly and soft appeal, this album does not lack more immediate episodes able to spark interest and attraction from the first listens, like the elegant electronic reworking of "I'm Not In Love" by 10cc, a perfect example of a cover with personality in full respect of the original's intent and structures, but especially "Love Affair" and "Trickle", which perfectly represent the rich and enveloping sound of the album, the first with its sinuous, measured yet engaging crescendo with new age overtones, the second with more shadowy atmospheres and an intriguing mix of R'n'B and trip-hop; and then there's the splendid voice of Ruth-Ann Boyle, a great added plus that brings further charm and charisma to this underrated pop gem.

The best, however, is to be sought a little deeper; with a careful and receptive ear, one realizes that "Trickle" is a much more varied and eclectic album than it might initially appear, as well as rich in influences and evocative atmospheres. Truly splendid is "Push", a crepuscular electro-orchestral mix where Celtic and Latin hints blend, "Indulge Me", a ballad of rare elegance, melancholic but light, sober, and velvety is certainly no less, as well as the very sensuous "Creature Of Comfort", with its soft step and exotic atmospheres reminiscent of the contemporary Sade of "Lovers Rock." The peaks, however, were already in "Extra Virgin" and of equally high quality, the real novelty of "Trickle" is the leap in quality in the "surrounding" tracks, an excellent soul-tinged ballad like "Smile", the theatrical crescendo of "Liberty" and the simple and sober elegance of "Beyond The Fray", just to name a few examples.

There are no "fillers" strictly speaking and weak episodes as sound or concept, this is an extremely important detail, marking the difference between an interesting album (like "Extra Virgin") and an excellent album like "Trickle," which also had its importance and influence. I especially think of "No More Sweet Music," the last great album by Hooverphonic, which in fact takes up in full the stylistic elements expressed here by Olive (electronic pop with new age, black music, and orchestral reminiscences) reworking them in a more baroque key. Someone might say "esticazzi," but I don't care; the Olive do not fall into the categories considered more in vogue here, but since here you can talk about anything, why not truly take advantage of this opportunity? This is me, these are my proposals, take it or leave it; to read about the Beatles, the Queen, the Genesis, or whoever, there are countless other spaces and opportunities, why not use this space to bring to light stories that perhaps few know, which few remember, even in a pop realm, why not? It will certainly not be the best review on the site, and I am certainly not the best reviewer, but with pages like this I can say I expressed my personal, useful, and effective contribution, I added my voice to what should be a colorful and lively Babel, and I believe this deserves recognition.