Like she took her father and Roberta Flacks "Be Real Black for Me" to heart and then some, Lalah Hathaway titled her eighth solo album after the darkest known pigment, and poured the same warm and loving sentiments into the music. Purists who didnt appreciate the bold left turn the singer took with Honestly might be hesitant as they approach this follow-up with four guest MCs and another explicit tag. To the contrary, VANTABLACK, produced by Hathaway with Phil Beaudreau, Ariza, and Warryn Campbell and Eric Dawkins rotating at the controls, is closer in sound to Where It All Begins, given that the stylistic descriptors for all of the songs would have to include soul with preceding modifiers such as modern, throwback, hip-hop, folk, and pop. Just as crucially, the introductory appearances from Rapsody and Common, followed by those from MC Lyte and Phonte, complement the albums themes of communal affirmation and romantic affection. Additionally, the one track with explicit language is among the lightest and sweetest songs in Hathaways catalog and promotes self-respect. The most seductive songs are built on subtle percussion that prompts slow rocking/bobbing movement and locked eyes: "Mood for You," featuring the joyous Lyte assist, and "Tunnels," holding some of Hathaways most blissed-out wordless vocalizing and a lilting refrain from Willow. Close behind them is "No Lie," what could pass for a faithful cover of a deep mid-70s gem, where Hathaway harmonizes with Michael McDonald. For all the significant guest roles -- which are rather neatly front- and back-loaded -- there is a 35-minute core that is all-Hathaway all the time. A few of the songs are naturally more introspective, and a couple are even somber, full of weariness and doubt, though not lacking in power. The section also contains a good amount of Hathaways most pleasurable and beaming uptempo material with subtle vocal mastery in constant supply. On the simultaneously nostalgic and hopeful "The Energy," Hathaways hook practically doubles as a second bassline. "I AM" veers close to B-grade Daft Punk-inspired EDM but is saved by the conviction in Hathaways exultations. More for the house heads, the robust and aspirational "Higher" takes the baton from Jon Dixons mix of Waajeeds "Strength" and increases the positive energy. No less potent is a questioning song depicting a post-breakup scene that vibrates with thrumming low end and fades out with Hathaway astounding in scat mode. ~ Andy Kellman

Rovi