D’Angelo’s 14-year vanishing act ended decisively on midnight as Monday began when he released “Black Messiah,” his first new album since 2000. It’s not the kind of larger-than-life pop event and sharply etched public statement that “Beyoncé” delivered as last year’s December surprise. “Black Messiah” is a knotty, inward-looking, musicianly album made to reveal itself slowly. It doesn’t leap out of speakers; it oozes and bubbles, waiting for a listener to be drawn in. As it does, the pleasures and rewards keep growing.

For complete review, visit The New  York Times.com/Arts.

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