In 2016, Louis Kevin Celestin, aka Kaytranada, stepped out from behind the sound booth to make his debut solo album, a bold move considering albums made by beatmakers can often become clunky collages of disparate singles with no real artistic unity. Not the case for the excellent 99.9%, for which the Quebecer with Haitian origins joined forces with Craig David, BadBadNotGood, Phonte, Syd from The Internet, Anderson .Paak, AlunaGeorge, GoldLink, Vic Mensa, Karriem Riggins and the Swedes from Little Dragon. Three years later, and his second album also brings out the big guns, this time featuring Kali Uchis, Pharrell Williams, Tinashe, Mick Jenkins, Charlotte Day Wilson, Estelle, GoldLink, SiR, Iman Omari, Masego, VanJess, Eight9Fly, Ari PenSmith, Durand Bernarr, and Teedra Moses. Once again, the eclectic nature of the varying styles and voices on the album never stop Kaytranada from taking the lead. Bubba has the allure of a groove mixtape centred around a core of house and soul, all while touching on a plethora of other styles along the way (indie R&B, smooth hip-hop, chillwave, funky pop, light downtempo). The Canadian, like many of his counterparts of the same generation, consistently manages to deliver an unstoppable and individual beat that allows the featured vocals to blend in perfectly with it. This technique is best exemplified on 10% with Kali Uchis, a banger that exhibits the power of a catchy melody without having to reinvent the wheel. Addictive. © Marc Zisman/Qobuz

GREY Area is, as usual, released on Simz’ own label. The cover reminds one of a Harcourt studio photograph. It is Little Simz’s third album and with this release the artist reaches a whole new artistic level since the release of A Curious Tale of Trials and Persons, in which the 21-year old London native also encourages women to take control. On Women can be Kings Simbi Ajikawo collaborated with Lauryn Hill and Kendrick Lamar. She has also been one of the opening acts for Gorillaz. As she gained musical confidence she became one of the most innovative rap artists of the time. Between the instrumental productions of Inflo, the jazz influenced tune Flowers, the dreamlike beats and keyboard trickery of 101 FM, or the lyrical opulence (with strings, piano and flutes) of Offence, Simz opened the doors of her studio to many artists: A jaunty reggae with Chronixx (Wounds), an appearance of Little Dragon on Pressure, R&B revelation Cleo Sol appears for the suave chorus of Selfish and Michael Kiwanuka adds his magic on Flowers. The album’s impressive artists’ appearance as well as its sophisticated compositions are working as counterpoint to Lil Simz’s rough yet precise flow. The album is both luxurious and accessible. A true masterpiece! © Charlotte Saintoin/Qobuz

Amidst societal strife and global pandemic, Maynard James Keenan returns with the most personal and human of his three main bands, reviving Puscifer with the group's fourth official full-length, Existential Reckoning. As the title suggests, this time things are more serious than usual and the core trio of Keenan, Carina Round, and Mat Mitchell crafted a politically charged takedown of the state of the world circa 2020. Although Reckoning stands as one of the most subdued -- and least sophomoric -- Puscifer albums, it swaps out their usual hallmarks in favor of substance and emotion, resulting in their tightest and most thematically focused output to date. Drowning in dread, frustration, and anxiety, the journey falls between Trent Reznor and Atticus Ross' introspective film scores and something that could soundtrack The X-Files in another dimension. The band also pepper the effort with touches of Bowie's spaced-out glam, Kraftwerk's robotic detachment, and Reznor and Ross' work as Nine Inch Nails and How to Destroy Angels. Droning electronic atmospherics wash over the not-so-subtle "Bread and Circus," which sets the tone as Keenan chides the population for trading its "voice...life…[and] self-sovereignty" for cheap thrills and distractions. As the beat pulses with mechanical precision and the bass slinks along, Keenan and Round trade vocals over a slowly building buzz that eventually bleeds into the album's central concept, "Apocalyptical." Atop guitar groove and industrial percussion, Keenan growls, "Be damned, dumb.../Go on, moron, ignore the evidence," morphing into a twisted dystopian version of a Willy Wonka Oompa Loompa. Without mincing words, he calls out a populace that's content with manipulation and disinformation, ignoring facts and reality to its own detriment. This notion continues straight to the end, from highlights like the throbbing "The Underwhelming" to the aggressive "Fake Affront." After an album's worth of critical observation, Puscifer offer a surprising glimmer of hope with "Bedlamite," which toasts "our remarkable resilience to calamity" as Keenan soothes, "Everything will be alright." Although lacking the silly and immature content found in their early output, the group retain their cheeky spirit, using that irreverence to process a society on the verge of collapse in a manner that's still uniquely Puscifer. As the world burns, Keenan and company hold a mirror to the calamity, forcing us to face reality and figure out a way to move forward.© Neil Z. Yeung /TiVo

Amidst societal strife and global pandemic, Maynard James Keenan returns with the most personal and human of his three main bands, reviving Puscifer with the group's fourth official full-length, Existential Reckoning. As the title suggests, this time things are more serious than usual and the core trio of Keenan, Carina Round, and Mat Mitchell crafted a politically charged takedown of the state of the world circa 2020. Although Reckoning stands as one of the most subdued -- and least sophomoric -- Puscifer albums, it swaps out their usual hallmarks in favor of substance and emotion, resulting in their tightest and most thematically focused output to date. Drowning in dread, frustration, and anxiety, the journey falls between Trent Reznor and Atticus Ross' introspective film scores and something that could soundtrack The X-Files in another dimension. The band also pepper the effort with touches of Bowie's spaced-out glam, Kraftwerk's robotic detachment, and Reznor and Ross' work as Nine Inch Nails and How to Destroy Angels. Droning electronic atmospherics wash over the not-so-subtle "Bread and Circus," which sets the tone as Keenan chides the population for trading its "voice...life…[and] self-sovereignty" for cheap thrills and distractions. As the beat pulses with mechanical precision and the bass slinks along, Keenan and Round trade vocals over a slowly building buzz that eventually bleeds into the album's central concept, "Apocalyptical." Atop guitar groove and industrial percussion, Keenan growls, "Be damned, dumb.../Go on, moron, ignore the evidence," morphing into a twisted dystopian version of a Willy Wonka Oompa Loompa. Without mincing words, he calls out a populace that's content with manipulation and disinformation, ignoring facts and reality to its own detriment. This notion continues straight to the end, from highlights like the throbbing "The Underwhelming" to the aggressive "Fake Affront." After an album's worth of critical observation, Puscifer offer a surprising glimmer of hope with "Bedlamite," which toasts "our remarkable resilience to calamity" as Keenan soothes, "Everything will be alright." Although lacking the silly and immature content found in their early output, the group retain their cheeky spirit, using that irreverence to process a society on the verge of collapse in a manner that's still uniquely Puscifer. As the world burns, Keenan and company hold a mirror to the calamity, forcing us to face reality and figure out a way to move forward.© Neil Z. Yeung /TiVo

The U.S. debut solo album by Frou Frou vocalist Imogen Heap is a captivating record that fuses innovative electronic soundscapes with a strong female voice. If "Goodnight and Go" -- a lilting, pulsating, and hit-ready concoction -- and the alluring, synthesized pop of "Hide and Seek" are the most direct numbers, experimental numbers like the ethereal "Have You Got It in You?" plus the rhythm-fueled "Headlock" and "Loose Ends" suggest Heap has written and produced the finest electro/alt rock CD of 2005. By the time the eclectic, innovative "Closing In" arrives late in the cycle of Speak for Yourself, there's little denying it© John D. Luerssen /TiVo

Ludacris' second album for Def Jam, Word of Mouf, is a superstar affair that aims for mass appeal with a broad array of different styles. Nearly every track features some sort of collaborator, either hitmaking producers like Timbaland and Organized Noize, big-name rappers like Mystikal and Twista, hook-singing crooners like Nate Dogg and Jagged Edge, or fellow Disturbing tha Peace group members I-20, Shawnna, Lil' Fate, and Tity Boi -- and sometimes a combinations of these various ingredients. The resulting album is surely impressive, propelled by lively production, colorful guests, and an omnipresent touch of humor. More hilarious than before, Ludacris lightens his lyrical style here, leaving behind much of thuggishness that had characterized his previous album, Back for the First Time, in favor of witty puns and sly innuendoes. A particularly humorous highlight is the previously released (on the Rush Hour 2 soundtrack) single "Area Codes," a tongue-twisting, good-spirited Jazze Pha production. Less humorous though likewise standout is the lead single, "Rollout (My Business)," a rallying Timbaland production with a simple yet inescapable hook. Other highlights include the Organized Noize-produced booty-shaker "Saturday (Oooh Oooh!)," the Jagged Edge-sung "Freaky Thangs," and the Beats by the Pound-esque posse track "Move Bitch." There's also a hidden bonus track here that's likewise an explosive collaboration, the Jermaine Dupri-led "Welcome to Atlanta." There are a lot of highlights here; however, amid all of these various team-ups you do lose a little bit of the sincere, personal edge that had characterized much of Ludacris' debut. Even so, it's overall a worthy exchange, since there's something here on Word of Mouf for everyone, signaling Ludacris' leap from the Dirty South underground to the pop-rap mass market.© Jason Birchmeier /TiVo

Since Fever to Tell, with each album the Yeah Yeah Yeahs have challenged their audience with their changes, and Mosquito is no exception. A 180 from It's Blitz!'s flashy electro sheen, the band's fourth album downplays synths, programmed beats, and other gadgetry in favor of drums, guitars, and a mix of rock and inward-looking ballads that occasionally recalls Show Your Bones. Karen O, Nick Zinner, and Brian Chase reunite with longtime producers David Sitek and Nick Launay -- who were honorary members of the band by this point -- and they take the trio in any direction they want to go. Since "Maps," some of the Yeah Yeah Yeahs' most exciting songs show their vulnerability, and to a certain extent, this is true of Mosquito. O sounds full-throated and full-hearted as she sings "your sun is my sun" on "Despair," the kind of unabashed love song the band has excelled at since that breakthrough power ballad. Likewise, "Wedding Song" -- which O actually sang at her nuptials -- is genuine and intimate enough to strike a near-universal chord. At other times, the band's quieter side just doesn't connect: while "Subway" cleverly loops samples of the train into its percussion, it's a little too successful at capturing an introspective mood; the sparkling, vaguely exotica-tinged "Always" is pretty, but doesn't ring as true as the better love songs here. Meanwhile, Mosquito's loudest songs are more playfully nostalgic than ferocious, which in its own way is in keeping with the album's often reflective tone. "Area 52" and the title track spin tales about aliens and bloodsucking bugs that are much sillier than the Yeah Yeah Yeahs' early days; as impressive as O's wail still is, there's a campiness to these songs that almost feels like the band is having a fond laugh about when they used to do this all the time. Indeed, they sound most engaged on Mosquito when they're somewhere between its extremes. The lead track, "Sacrilege," showcases their way with a slow-building epic and plays like a more daring kissing cousin of Madonna's "Like a Prayer" as O sings "Fallin' for a guy/Who fell down from the sky" as a gospel choir rises up to meet her -- a risky move, since adding it to rock songs can be transcendent but more often than not just sounds like corny co-opting. Here, it actually works, and the way that the band incorporates dub elements on "Under the Earth" and the excellent "Slave" -- which sounds like Siouxsie and the Banshees recording at Studio One -- and the cameo from Dr. Octagon on "Buried Alive" are nearly as impressive. Something of a grower, Mosquito has perhaps the widest range of sounds and moods the Yeah Yeah Yeahs have ever presented on one set of songs. It might not be as cohesive as their best albums, but the standout songs rival their finest moments.© Heather Phares /TiVo

Strut Records surprises yet again with this date by Pat Thomas & Kwashibu Area Band. Its frontman was dubbed "The Golden Voice of Africa" during his hitmaking days in the '70s and '80s (on three continents) and is one of the most legendary singers to come out of Ghana's Accra highlife scene. He and frequent collaborator Ebo Taylor (who provides horn arrangements here) have been working together on and off since the mid-'60s. This set was recorded at Accra's Lovelite Studios in analog -- there are no samples or digital sounds. The music includes reworks of some of Thomas' hits as well as new songs. It's played by a killer, young-ish band led by veteran guitarist/organist Kwame Yeboah (Stevie Wonder, Cat Stevens) with very special guest appearances from drummer Tony Allen (who is half-Ghanaian), Hedzolleh Soundz trumpeter Osei Tutu, and Noble Kings' bassist Ralph Karikari. The set cooks from track one. "Mewo Akoma" features Karikari's trademark bass style, driving horns, grooving-chord Farfisa and guitar patterns, and a call-and-response dancing drum pattern. Over eight minutes long, it marries an Ashanti melody to third-generation highlife and Caribbean rhythms. "Odoo Be Ba" features Allen on drums. Based around a vamp created by saxophonist Ben Abarbanel-Wolff, it weaves together Afrobeat drumming, layered, fingerpicked highlife guitars, and knotty Farfisa, with Thomas -- still in gorgeous voice -- crooning, syncopating, and improvising through the lyric and refrains. "Me Ho Asem" is a funky groover marrying highlife to reggae and Philly-tinged soul with poignant lyrics. The reverbed electric piano and Tutu's emotional trumpet solo adds a post-bop jazz element, making it an album standout. "Oye Asem" is an excellent marriage of Afrobeat and highlife. The soaring organ, Allen's hypno snare beat, and Taylor's elaborate horn chart pave the way for Thomas to take off. He digs down into the lyric and liberates it with a sensual loverman charm. This makes a beautiful and contrasting intro for "Odo Adaada," a redo of one Thomas' '80s hits. It's joyous, tropical highlife, and the vocal interplay between the singer and his daughter Nannaya, combined with a skittering Farfisa and killer guitar playing, sends it over the top as a dance jam. Closer "Ama Ehu" is an even more overt tapestry woven from Afrobeat, thanks to Taylor's tough, labyrinthine horn chart and Yeboah's Farfisa and, of course, Allen's drumming -- and classic third-generation highlife. Thomas is so skillful in his delivery, he aims the melodic center of his voice at the mountain of rhythms, and it becomes yet another one. His singing is effortless; so reassuring in its soulfulness it edifies even as it exhorts. For a man in his seventies, Thomas remains a singer of astonishing power; his experience and musicality more than compensate for anything time has tried to steal from him. With this union of old friends and a younger group of disciplined players, his album represents not the glitter of highlife's legacy, but a new frontier. © Thom Jurek /TiVo