New Amerykah Part 1 came as an abrupt shock to the system. I had previously labelled Erykah Badu as Lauryn Hill's nearest contemporary, a smooth soul stylist with a dash of fire. But aided by a brilliant production team-including Madlib and Sa Ra-here stood something different, a defiantly eccentric creature. Badu's sumptuous vocal presence was set to a modern Funkadelica. Political mythology ghost danced over forms of '70's-infused, edgy hip-hop. Telephone, a farewell to her late friend Dilla gave one goosebumps. The upright, sing-song chants held conflict with a sunken anger, resulting in a quite frightening disorientation. Warm, relaxed and out of sync, Amerykah carried an aura of There's A Riot Going On's seductive, deeply whacked catharsis. Was this the first crooked step to a cracked universe?
Nope. In her promo video for Window Seat, she performs a minimalist striptease while walking through the city streets. She acts like a scruffy goddess, confident, wise, holding all the secrets of the world. New Amerykah Part 2 is a far calmer, more organic album that features Badu's unique, slinky vocals lulling over lithe, jazzy grooves. The songs are actually quite formless, Badu giving the impression of improvisation. The musicianship on the other hand is impeccable and immaculate, grounded by resonating bass and a Headhunters solidity. Agitated even recalls Weather Report's lilting fusion. But one does miss the left field turns Part 1 took in sonic labyrinth. Political context is also surrendered in the name of love. Which is not to say it's generic, there's much supple pleasure in these tracks, just a lack of risk or danger. 20 Feet Tall swells with cinematic cool and the closer Out My Mind, Just In Time sprawls with a smokey lushness, subtly allowing interruptions in it's tone. Then, far from fear, she glides with luminous ease into the midst.
