The heart of the sound, as with Sault, is the rich, string embellished psychedelic soul of Rotary Connection and Norman Whitfield era Temptations, though here there's more of a lovers rock pulse too. But it is distinctly modern; this is music distinctly in the wake of D’Angelo’s Black Messiah and Solange’s A Place at the Table. And the way other old stuff – kitschy Sixties movie themes and northern soul, say – is interpolated suggests both hip hop (A Tribe Called Quest, Lauryn Hill) beats and even Portishead’s arrangements. The grown up confidence in blurring the personal, the political, the sexual and the everyday in the lyrics is reflected in the subtle power of the music; there are no big choruses, and Sol’s voice is velvet throughout, but there’s absolute assurance that the hooks embedded and woven through the grooves are plenty to make it addictive. It is a masterpiece.