I found Michael Kiwanuka’s 2012 studio album Home Again to be a pitch-perfect blast from the past, as it not only possessed lo fi, dusty tape to tape sound, but orchestrations so classic, it was indistinguishable from the real sixties thing. Plenty of music was memorable on that trip, yet at the time, I would not have wanted him to continue on in this same mold for the next album. Years went by – perhaps too many, as I had missed his even grander 2016 album effort, Love & Hate, until recently. I was shook to the core by the deeper quality of this album, because, even though it was completely old fashioned, it developed into a more jazzy, haunting, and important piece of work. Lucky for me, it was a fantastic case of ‘better late than never’, and whether I had stumbled upon a long last classic from 2016, or 1966, the originality of this music would still blow my mind – especially in a modern world where artists, chiefly from the UK, are the premier purveyors of American Sixties Soul, yet all too often, reproduce the same formulaic progressions, instrumentation’s, and recording techniques – without elevating the actual music itself. How many times will British artists do the same Doo Wop number re-popularized by Amy Winehouse? Not here with the multi-talented and open minded Michael Kiwanuka. Borrowing from the past styles of several seminal artists, Kiwanuka is wise enough to write new pieces as if he was himself a sixties artist trying to invent something new with the tools, sounds, and styles available within the sandbox of that era.