D’Angelo is back after 14 years with “Black Messiah,” an album that’s subtle, political, organic and reclaim’s his throne as R&B’s genius.
Timing is everything in music. And for , the nearly 15 years between his iconic album “Voodoo” and his “Black Messiah,” which he released suddenly this weekend, was perfect timing. He’s no longer the sex symbol with chiseled abs and high cheekbones from “Untitled” (if thatap what you were waiting all these years for you can stop reading now). ’AԲ is back — now with the Vanguard — and his return is subtle, political and organic, with themes and vocal formulas (with help from Questlove) that reclaim his throne as R&B’s genius. And he did so without hype, without fanfare, without sponsors or live streams, or drama.
We don’t have to rehash the days of the crooner shrouded in heavy leather coats, hiding behind his piano and sultry voice because we’ve been doing it for over a decade. Itap worth mentioning, though, that ’AԲ’s appearance was certainly a point of contention in his comeback. He gets candid about the public’s ideas about his appearance on “Back to the Future Part 1” pushing against any “sex symbol” chatter.
Songs like “1000 Deaths” find ’AԲ wailing so hard his vocals fight it out with the screaming guitar on the record. He’s talking about life in a society driven by the fear of black skin. Itap as if he was waiting for a year like we just experienced to release this record. Did these protests inspire ’AԲ to release this record? It doesn’t hurt to think that way, as song’s on “Black Messiah” act as the perfect allegory for the signs in crowds and soundbites on CNN.
Itap not all heavy concept and howling funk riffs, though. The love song style that made us fall for ’AԲ in the first place has been given an upgrade on tracks like “Betray My Heart,” “The Door” and “Really Love.”
Like his public persona, ’AԲ’s singing voice is shy — itap a beautiful mumble. You have to listen in. Pay attention to the detailed instrumental breakdowns behind his warm notes. Sometimes itap hard to tell what is creating the picture; the instrument or the vocals.
’AԲ points out in the album notes that, ““All of the recording, processing, effects and mixing was done in the analog domain using tape and mostly vintage equipment.” As such, “Black Messiah” has a live element with it. ’AԲ gets free in the song’s structure with his band. He’s been gone for so long, plagued by life’s issues with such force, when you hear “Back to the Future Part 2” we are certainly relieved he made it to tell the story. It seems ’AԲ is relieved, too, as we hear on “Prayer,” a contagious moment of vulnerability.
Itap an album that won’t hit you in the face immediately. The subtleties of the grooves, his vocals, the content and instrumentation build and grow. After a 14-year wait, itap certainly worth spending some time with this album. Itap best to press play and let the notes on “Black Messiah” rise to meet you.
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Ru Johnson is an arts and culture music writer living in Denver. You can follow her on Twitter here.
