Last week Saint Etienne released their twelfth and final album, International. It’s rare for a group to put out that many albums without releasing anything close to a dud, but impressively that’s the legacy they’re leaving behind. Beginning with 1991’s Mercury nominated Foxbase Alpha, they’ve never really fitted into any particular scene. They were briefly linked to Britpop (they’re mentioned in that famous Select article which started the whole scene along with Suede, Denim, Pulp and The Auteurs aka the Britpop we actually deserved), but at the height of the Blur vs Oasis era, they put out the euro disco inspired masterpiece, ‘He’s On The Phone’ and then took a break to do other projects as the scene died out.
As the 21st century began, a lot of their contemporaries folded or lost their way. Saint Etienne would always find new ways to tweak their sound and maintain their identity as every new scene passed them by (similar to how Pet Shop Boys handled themselves at the same time). Some of their albums are stronger than others, but the arrival of a new release was always welcome. Then there were the mini albums, Christmas singles, fan-club releases, soundtracks, one off singles etc. They are a record collectors dream which is what they all are themselves. Sarah Cracknell, Bob Stanley and Pete Wiggs are obviously fanatical about music and that’s part of what makes their music so special. The heart of the band is how they convey that love and obsession with music for people just like them. When they invited us to, join their club in 1992 they meant it and it was an honour to go along with them for the ride. A ride which has lasted 35 glorious years.
Here are 11 songs that hopefully encapsulate what made Saint Etienne such a remarkable group.
Nothing Can Stop Us (1991)
“I’ve never felt so good, I’ve never felt so strong”
Even though the release of ‘Nothing Can Stop Us’ was preceded by two singles (their covers of Neil Young’s, ‘Only Love Can Break Your Heart’ and The Field Mice’s ‘Kiss & Make Up’), this single felt like the band’s real introduction to the music world. Over a Northern Soul style bass-line, with delightful guitar licks and an excellent use of Dusty Springfield’s classic, ‘I Can’t Wait To See My Baby’s’ Face’, they capture a magical and youthful sense of optimism here. The little build up to the chorus with the eventual release of fluttering flutes is as joyful as music can get. When Sarah sings the title with a knowing wink, you believe her 100%. It’s one of the many standouts along with ‘Spring’, ‘Carnt Sleep’ and ‘Like The Swallow’ which makes Foxbase Alpha such a classic and unique debut. They could mix 80s twee indie, classic 60s pop and the late 80s/early 80s house scene better than anyone.
Avenue (1992)
“How many years, is it now Maurice?”
Saint Etienne’s singles had been getting higher and higher with each release. The thrilling, ‘Join Our Club/People Get Real’ double A-side was one place away from finally getting them into the top 20 where they belong. What better way to keep that run going by releasing a seven and a half minute single featuring a wonderfully over the top 30 second harpsichord solo in the middle and two fake endings. This risk didn’t pay off commercially (although getting such a radio defying single to number 40 is some kind of achievement), but Avenue is a tour de four that not many could pull off. It’s a gorgeous tale of an old love affair that feels like several dreamy songs rolled into one. It’s all tied together with a floaty drum beat and layers of breathy swoonsome backing vocals. It’s an incredibly ambitious single and the centerpiece to their perfect second album, So Tough.
Mario’s Cafe (1993)
“Did you see the KLF last night?”
After such a charming and critically acclaimed debut, the group managed to go one better releasing So Tough which remains their best album. It includes the singles the aforementioned ‘Avenue’, the sugary rush of ‘You’re In A Bad Way’ and the spellbinding, ‘Hobart Paving’. There are also excellent deep cuts like the brilliant dubby instrumental, ‘Railway Jam’ and the ethereal disco of, ‘Leafhound’. ‘Mario’s Cafe’ is one of their prettiest melodies filled with blissful production that soars like a dream. The little instrumental break before the chorus is absolute gold as is the way Sarah’s voice twirls around the kitsch playful rhythm. As she sings, “everyone’s dreaming of all they’ve got to live for” their flare for the 60s hippy scene is on full display, but brought firmly into the 90s.
Who Do You Think You Are (1993)
“It’s not fair, you don’t care”
Already no stranger to cover versions, the band took on Candlewick Green’s (former Opportunity Knocks winners) top 40 hit, Who Do You Think You Are. On paper, it seems like an odd choice after having their biggest hit with the irresistible, ‘You’re In A Bad Way’ (number 12 in February that year), but the execution is spot on. It sounds like a Saint Etienne original with one of those striking melodies that’s melodic and instantly catchy. Debsey Wykes (formally of the very underrated Dolly Mixture), helps out on backing vocals and brings out the emotion of the lyrics making the dramatic chorus hit even harder. It shows the band weren’t afraid of taking risks and knew the inside out of pop music more than anyone else.
Split Screen (1998)
“I’m dying to get the sun in my hair”
Following on from 1994’s under appreciated, ‘Tiger Bay’ which is only skipped here because I only have 11 spots (pouring one out for, ‘Marble Lions’ and ‘Hug My Soul’) and their insanely perfect singles compilation, Too Young To Die which gave us their signature hit, ‘He’s On The Phone’, the band took time out. In 1998 they returned to a different landscape where bands were distancing themselves from Britpop with extremely differing results. Saint Etienne came back and carried on being themselves. ‘Good Humor’ arrived sounding ready to take on the pop world and win. Just about every song sounds like a single and the production is bright and as stylish as the songwriting. ‘Sylvie‘ gave them a decent sized hit, but the album under-performed and only one more single was released. The bubble gum pop of, ‘Lose That Girl’ should have been a summer smash (to quote their good friend Lawrence from Felt/Denim) and ‘Split Screen’ being relegated to an album seems like an oversight. The latter is an album highlight thanks to the throwback 70s pop feel, catchy brass section and all the vibrant hooks. If there was any justice, it should have been their ‘Lovefool’.
Heart Failed (In The Back Of A Taxi) (2000)
“Get your kicks all around the world”
On their most experimental album at that point, 2000’s Sound Of Water the band dialed back the commercial 70s infused pop of Good Humor and go for hazy laid back melodies that take time to reveal themselves. It might be a lesser album of theirs, but there’s still some of their most glorious moments. Second single ‘Heart Failed (In The Back Of A Taxi)’ is an atmospheric ice cold masterpiece that still sounds way ahead of its time. It’s a bit of a one off on an album that often finds them in a more warm soothing mode. The eerie vibrating synth bass wobble and twinkling star-like keyboards have a timeless quality. Sarah sounds reserved and nonchalant throughout, helping to make it one of their most alluring singles 25 years on. Another one that should have had much more success.
Teenage Winter (2005)
“He’ll win it, put it in a drawer and forget he ever bought it”
Sadly by 2005, Saint Etienne’s commercial fortunes were at an all time low. ‘Side Streets’ gave them one last top 40 hit, but ‘Tales From Turnpike House’ scraped into the charts at number 72 and didn’t even get a U.S release. The promotion seemed non-existent which is a tragedy as it’s one of the best albums of their career. The album is laced with Beach Boys-esque harmonies and some of their sharpest songwriting. ‘Milk Bottle Symphony’, ‘Good Thing’, ‘Stars Above Us’ and ‘Lightning Strikes’ rank as some of their best moments. In 2005 pop music was thriving thanks to artists like, Girls Aloud, Sugababes, Ladytron, Rachel Stevens, Robyn and Annie all releasing classic albums. Even Erasure came back strong that year. 15 years into their career, Saint Etienne slotted in nicely with an album that had an old school spirit, but sounded as contemporary as the artists making pop music sound so exciting.
‘Teenage Winter’ is the emotional climax of that incredible album with some of their best and most intricate storytelling. Lyrics such as, “in the charity shop Mrs. Brown sits at the counter pricing down some old stock. The Moon’s a Balloon, two copies of Every Loser Wins, Noel’s Blobbyland deluxe edition. There’s not much left on the doorstep recently, something to do with eBay Johnny reckons” are so poignant and well observed. The Red Hot Chilli Peppers insult is just the icing on the cake. The layered musical backing is absolutely breathtaking, especially the heart-stopping solo. Like so many of their most astonishing moments, there’s a heavy dose of melancholy and nostalgia here.
Method Of Modern Love (2009)
“No rules for foolish hearts”
Seven years would pass between, Tales From Turnpike House and their next full length album. In between that, the band released an updated singles collection that felt like the group were just showing off. The two new singles they released to promote it included an updated mix of the great lost single, ‘Burnt Out Car’ (co-written with Brian Higgins who would help rule the 2000s pop scene as part of Xenomania) and this new composition. Saint Etienne working with the always wonderful, Richard X sounds like an ideal collaboration and the reality is just as good as you might expect. Despite sharing its name with the Hall & Oates hit, this is a brand new song that was one of 2009’s best singles. The chiming bells and cozy synths give the same sugary rush that, ‘He’s On The Phone’ did back in 1995. The double chorus both glisten and sound like the makings of a huge summer hit (they released it in February naturally). 20 years into their career, they could still pull out something so sharp and instant.
Over The Border (2012)
“I had my mocks a month later, but I just wanted to listen to Dexys, New Order, anything on Postcard”
Words & Music By Saint Etienne was more than worth the seven wait. It’s roughly a concept album about their love of music and their journey with it from their youth onward. Featuring two late career masterpiece singles, ‘Tonight’ and ‘I’ve Got Your Music’ the album breezes by and is maybe their most straight up pop/dance record. The opener, ‘Over The Border’ is arguably the most jaw dropping song in a career full of them. It almost works as a follow-up to ‘Teenage Winter’ with Sarah doing the spoken verses again. This time, instead painting pictures of characters, Sarah focuses on herself detailing her lifelong music obsession asking important questions like, “When I was married and when I had kids, would Mark Bolan still be so important”. It’s a song for anyone who has ever felt like music is the most important thing in the world and has used it to escape. It comes backed with one of their most wistful and stunning pieces of music that packs an emotional punch.
Half Light (2024)
“Think I heard her whisper to me at half light”
As a new decade began, Saint Etienne released two of their most experimental albums. 2021’s ‘I’ve Been Trying To Tell You’ was inspired by late 90s and early 00s pop and R&B. They take samples from non-obvious sources like, The Honeyz, Samantha Mumba and Natalia Imbruglia and turn them into a set of hazy trip-hop and vaporwave inspired soundscapes. It’s not an album concerned with big choruses. They doubled down on that subtle approach and lack of attempts at hit singles with 2024’s, The Night – the definition of a grower. There are beautifully serene ambient passages punctured with occasional words by Sarah that are like you’re drifting in and out of a dream. ‘Half Light’ is just under two minutes and is delicate and spellbinding. Only two verses are sung before the vocals disappear into the shimmering keyboards and elegant guitar playing like a puff of smoke. It’s a hypnotic moment on an album that deserved more attention.
Glad (2025)
“But don’t it make you glad when the sun shines in your eyes?”
The announcement of this month’s, International being Saint Etienne’s final album was made even heartbreaking by the arrival of a single so wonderful, it really made it sink in that we were about to lose maybe the greatest and most consistent band we’ve ever had. ‘Glad’ is produced by The Chemical Brothers and after two more mellow and understated releases, sounded absolutely huge when it arrived in May. The jittering stop-starting rhythm is infectious and everything about the song so joyful and life affirming in a way that Saint Etienne could always excel at. The accompanying album is full of moments that radiate that feeling and is a victory lap for such an endlessly loveable group. They will be missed.
