Stealth has always been part of the U.K. R&B collective Sault’s methodology and mystique: The prolific and partially anonymous group, led by songwriter-producer Inflo and singer-songwriter Cleo Sol, avoids photos, interviews, splashy cover art and all the usual trappings, instead dropping a mind-boggling number of albums in a variety of styles — ranging from orchestral to stripped-down rock, along with their usual R&B — in the six years since they first appeared: some 12 albums (yes, twelve!) and two EPs, not to mention four Inflo-helmed albums by Sol and Inflo’s recent work with Michael Kiwanuka and Adele, and Sol’s recent (relatively) high-profile North American tour.
The group’s albums have all been relatively low-key releases (their previous one dropped on Christmas Day), but for this one — their best, or at least most accessible, album in years, a sumptuous serving of R&B filled with winks to ‘70s and ‘80s R&B and especially classic Michael Jackson — they outdid themselves. Just a handful of teaser song snippets on social media, then the whole thing suddenly appeared on streaming services last Saturday. (We usually get a low-key heads up that something is coming, but not this time — and we’re definitely not the only ones who missed it.)
Anyway, while the group’s recent albums have been more-experimental and filled with faith-based lyrics and themes, this one brings it all back to the glorious R&B that first put the group on the map. It starts right in with the winking Michael Jackson references: The first track “T.H.” features “Don’t Stop Till You Get Enough”-style percussion and peppy horns, and throughout the rest of the album you’ll hear a keyboard hook that nods to “Rock With You” “K.T.Y.W.S” (yes, they’ve all got abbreviated titles) and an orchestral arrangement that flashes on “Billie Jean.” But it’s not all MJ: There’s a song called “R.L.,” probably “Real Love,” that nods to the Mary J. Blige classic of the same name; elsewhere on the album there’s a bassline that recalls “Fresh”-era Sly & the Family Stone and horn arrangements that are Fela-esque in one place and P-Funked in others. None of these references are overt — they’retrademark Sault IYKYK touch.
The band’s core, as usual, is based around its tasteful rhythm section and chunky guitars, with Sol and backing singers soaring above, but the keyboards, horns and ‘80s musical references keep it upbeat; the lyrics are often Christian-themed but less overtly than their recent releases.
“X” is the most easily accessible Sault album in some time — so it’s perfectly on brand that it would also be possibly their most quiet drop.
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