SAULT - Sorry Ain't Enough

“The revolution has come (out the lies!) / Still won’t put down the gun.” This is the first line of Sault’s new album Untitled (Black Is). The album of the Movement has arrived—and every second of it is glorious. Last year, a mysterious soul group named Sault arrived out of nowhere with two albums, titled 5 and 7. No one knew the identities of its musicians, and the albums were released on an independent label, but they drew rapturous acclaim. 5 and 7 were feasts of rhythmic and exuberant Afrobeat, soul, funk and R&B—the songs are passionate, radiant, radical and rooted in rich Black musical traditions (which, by extension, are the same roots of most popular genres). They were unexpected triumphs, but after releasing two albums in the same year, one might’ve figured Sault would go silent—at least for a little while. But earlier this year, something incredible happened—they surprise-released another album, Untitled (Black Is). On June 12, they posted a square image of a Black power fist on socials with the caption: “We present our first ‘Untitled’ album to mark a moment in time where we as Black People, and of Black Origin are fighting for our lives. RIP George Floyd and all those who have suffered from police brutality and systemic racism. Change is happening … We are focused.” The languid synthesizers on “Eternal Life,” the fury-filled shared vocals on “Stop Dem,” the jazzy guitars on “This Generation” and the skittering beats on “Black” make up a rich tapestry of soul, funk and gospel music. While there are nods to Motown, these aren’t your parents’ classic soul records—you’re hearing the eccentricities, voices and personalities of today and tomorrow. —Lizzie Manno