Appleton

“Fantasy” in 2002 introduced the project with a sharper pop-rock edge than the sisters’ earlier group material. The rhythm was direct and the vocal presence less protected by a large harmony blend. It made a clear first impression, while the contrast between the two voices gave the single more detail than an uncomplicated statement of independence might have allowed.

Everything’s Eventual followed through Polydor in 2003. The title placed the project in a patient frame, even as the arrangements moved between forceful guitars and softer pop settings. “Don’t Worry” revealed a particularly useful side of the duo: a reassuring refrain could carry some strain in the delivery, making comfort feel like something being offered in response to a real situation.

The album’s range makes more sense when it is heard as a complete record rather than an interruption in the All Saints story. With fewer voices in the foreground, small differences in tone and emphasis become easier to hear. The arrangements sometimes give the sisters a large frame, then pull back far enough for a line to feel much less certain of itself.

Their later return to All Saints placed Appleton within a wider shared history, but the duo album remains a distinct chapter. Its interest lies in the change of scale and musical setting: the voices are familiar enough to recognise, while the production asks them to do something different. There is a human appeal in that process of trying another shape for an established identity, particularly when the songs keep some of the hesitation as well as the confidence.