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Review: First released on streaming services back in December, Little Simz fifth album, No Thank You, finally makes it onto CD. Chances are you've already heard it, but if not, we can confirm that it's a genuinely brilliant set that more than lives up to the dizzy heights of its Mercury Prize-winning predecessor, 2021's Sometimes I Might Be Introvert. Constructed in great sonic detail by long-term production partner InFlo - all sultry strings, head-nodding R&BV beats, sampled horns, background and chorus vocals from Cleo Sol and warming bass - the ten-track set contains some of Little Simz's most potent lyrics - all of which are delivered with the kind of seamless, London-accented flow that we've come to expect from her. Another triumph from one of the UK's greatest MCs.

Review: They may only have emerged in 2019, but Inflo's socially conscious, politically charged, impossible-to-pigeonhole Sault collective has already delivered a string of vital albums. Nine, the crew's latest set (and first of 2021) is every bit as incendiary, versatile and impactful as its predecessors, with the 10 collected tracks touching on everything from drowsy R&B, spoken word, classic soul and post-punk rock, to UK bass mutations, gospel, jazz-funk, Charles Stepney style excursions and hazy downtempo beats. Mixing live instrumentation, electronics and a wealth of guest vocals, Nine is a genuinely stunning, thought-provoking album full of razor-sharp lyrics and brilliantly executed musical movements.

Review: Dean Josiah Cover AKA Info's Sault collective has been one of the success stories of the last few years - a hard-to-pigeonhole outfit that manages to knock out inspired albums at a rate of knots. Their latest full-length, '11', is another brilliant and must-check excursion. Largely lo-fi, languid and laidback, it delivers a particularly loose and lo-fi take on soul - blessed with their usual nods to Afrobeat and soundsystem culture - whose instrumentation is deliberately sparse and laidback (think bass guitar, drums and guitar). The results are rarely less than impeccable, with the collective's vocals (both female and male singers feature) rising above vintage-sounding grooves and arrangements that variously doff a cap to Sly Stone, Cymande and - on the drowsy, warming and synth-sporting 'Higher' - the more tactile end of British 80s soul.

Review: Listen up and pay attention all serious soul heads - Cleo Sol is back with an album which confirms her position at the forefront of UK soul. Sol has a career which reaches back to the late 00s guesting for the likes of Tinie Tempah, but it's within the wider Sault orbit she's forged a renewed presence in recent years. Locked into a productive run of albums which kicked off with Rose In The Dark back in 2020, her latest long player might just be her best as she gracefully glides from piano ballads to pastoral funk, low-slung neo soul bump and beyond. Everything is bound together by her flawless voice and a persistently warm, mellow production, making this sound like a future classic in waiting.

Review: Cleo Sol has emerged on Forever Living Originals alongside the avant-gospel sensation of Sault, and in an understated way she's quickly positioned herself as one of the most compelling, original voices in UK soul. Hot on the heels of Heaven comes her third LP Gold, and it's another masterclass in low-key but wholly intentional production framing some of the most arresting singing and songwriting you're likely to hear all the way through 2024. On Gold especially there's a tendency towards a cosy, in-the-room sound from the live kit and warm keys to the subtle undercurrent of soundsystem mixing attitude, and it makes for an album you'll want to live in for days on end.