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A partner piece to their debut 5, released in May, it’s hard to think of them as anything other than a double album split by a few months and the lack of a spine. Not musically, you understand – these songs possess the backbone of a whale, shaking with carefree punk-funk attitude and deep soul rhythms.

Plundering the past with high-octane abandon, Sault have an incredible sense of which routes lead to the dance. There’s nothing circuitous here, nothing wasted, just an irrepressible desire to find the quickest short-cut to pleasure. Consequently, tracks like “No Bullshit” and “Feels So Good” sound like they were cut in the rush of excitement as soon as the hook had caught. This sense of abandon continues – though taking on a very different form – in “Smile and Go”, which fuses the DIY sound with elements of R&B and African funk. Meanwhile “Threats” is an incredible piece of UK soul – smooth in intent and raw in delivery. It’s about as affecting combination as I’ve ever heard.

Often when bands opt for a melting-pot approach, they run the risk of a clash of flavours that lack coherence and taste of nothing in particular. By stripping back and getting to the essential core of it all, 7 (and its predecessor) reveals something almost indistinguishable from its constituent parts and much, much more appetising. It seems that Sault adds flavour. –  The Art Desk

Wire were born at the dawn of punk, but they became the quintessential art band. In the three closing years of the 1970s, the English quartet had one of the greatest opening runs of any band, shifting to post-punk before punk began to go stale...

Pink Flag was a fractured snapshot of punk alternately collapsing in on itself and exploding into song-fragment shrapnel. The record's minimalist approach means the band spends only as much time as needed on each song-- five of them are over in less than a minute, while a further nine don't make it past two. It's clear you're not getting a typical 1977 punk record from the opening seconds of "Reuters", an echoing bass line that quickly comes under attack by ringing but dissonant guitar chords. The tempo is arrested, lurching along to the climactic finale when Colin Newman, as the narrating correspondent, shouts "Looting! Burning!" and then holds out the lone syllable of "rape" twice over descending chords, which grind to a halt over chanting voices. It's all the bombast, tension, and release of a side-long prog opus in just three minutes. - Pitchfork

The version of the band that toured behind 2017’s American Dream gathers in the legendary New York studio, giving old songs new life and additional oomph.

On Electric Lady Sessions, LCD Soundsystem strip back and then bone up the grooves that have always made their music work, despite its contradictions. The groove takes precedence over the words, and Murphy gives his studio meticulousness over to the energy of the group. The synths run bright and juicy. The bass sounds like it could knock you out if you stood too close. The drums hit fast and sharp. Murphy slips from his throne as record-geek auteur and dissolves into the group—one musician among many, and better for it. - Pitchfork