Rating: 7.5 / 10

When Mos Def emerged on to the scene in the mid 90's hip hop was in a divided state between mainstream bling led by Bad Boy, Cash Money, No Limit et al, and the then ultra credible Rawkus Records at the forefront of the underground’s proud independence. With Mos’s style bridging a gap somewhere between fellow BK resident Jay-Z and Philly’s Black Thought, his and Black Star partner Talib Kweli's critical and commercial success undoubtedly helped blur the lines between the two scenes, and together with Common arguably opened the doors for a certain Mr West to come through and explode.

After their debut set garnered plaudits in 1998, Mos delivered one of the albums of the decade with his much-feted solo release Black On Both Sides the following year. The album held down production from DJ Premier, Ayatollah, Diamond D & Ali-Shaheed Mohammed plus guests included Q-Tip and Busta Rhymes – and lyrics ranged from the socially conscious to all out emcee combat. However, soon after this success, Mos went Hollywood. Okay, so not exactly Will Smith-style, but after carving out a decent acting career (in fairness he was acting before his rap career), a large part of the hip hop community felt it had lost one of its few new shining lights. Thankfully, it wasn’t all over. Subsequent albums The New Danger (2004) and the barely visible True Magic (2006) saw him back in the booth for a brief minute, but this material was a far cry from the era when you would hear Ms Fat Booty or Definition blaring out of club speakers.

The same can be said for the quiet buzz that supports the release of his fourth album, The Ecstatic. No massive singles and only one video (the feel-good jazz funk groove that is Casa Bey), however – and the web is a big part of this – his loyal followers do know this is coming, such is their affection. And, thankfully, those fans are going to be very pleased.

This album sonically is best compared to his second album, alongside some fine wordplay and more traditional stylings lifted from his launch era. There are some space age, psychedelic rock moments; but there are also some exemplary lyrical skills on display – with a touch of dark humour (the cabin crew of a flight bizarrely announcing what heat they’re packing!) and references to his faith cropping up too. Interestingly, an odd and somewhat experimental approach has been taken to the length of some tracks, with five coming in around the 2 minute mark and only two lasting over 4 minutes. His time working in movies may have rubbed off on him as well, with a number of tracks well-suited to film scores (arguably more so than radio or clubs).

The album opens with an inspirational Malcolm X speech that rings as true now as it did at the time it was made in 1964, leading into a rousing rock-tinged track firmly aimed at getting the listener open. The shuffling Chad Hugo-produced track Twilite Speedball is punctuated with Mos sporadically chanting his government name "Dante" and the album title, as the repetitive beat becomes more and more laced with sinister chimes. Mad Lib is up next on the boards, providing a typically-understated string backdrop to the dope cut Auditorium featuring a surprise verse from Def Jam’s legendary storyteller Slick Rick (sounding as comfortable as ever in his third decade on the mic).

On Priority, producer Preservation provides a quality beat with brass section and uplifting piano hook for Mos to deliver his solid flow, as with his driving African-style beat for the great Quiet Dog Bit Hard (Mos reviving his Boogieman pseudonym for this particular outing, with some great old school adlib references and soundbites such as "maintain the rock/ don’t stop the rock"). Life In Marvelous Times (produced by Mr Flash) sounds powerful and contemporary, the uplifting beat being space-age and dramatic a la something you’d hear from Polow Da Don; with suitably mind-bending, inspirational lyricism (and hook singing) from Mos.

For The Embassy Mr Flash mixes Middle Eastern vibes with twisted beats and Mos’s clever wordplay in a stand-out track that unfortunately ends just as you really get into it. With Pretty Danger, Mad Lib provides a lush, pulsating groove that can’t fail to move the listener, while Mos is on top form with his tight, complex flows and trademark sung hooks – which so often tail into improvisation towards the end of each track. The same formula can be found when Oh No (Madlib’s younger brother) provides a jazzy production for Pistola, which continues the high quality and perfectly captures Mos Def’s free-spirited eclecticism.

Classic soul singer Georgia Anne Muldrow takes centre stage on the beautiful Roses, proving Mos likes his R&B with a vintage seal – and is unafraid to let his guest shine while he plays the supportive role with his clever art-orientated rhymes. The third and final guest is Black Star partner Talib Kweli on the stunning, J Dilla (RIP) produced joint History. A timeless slice of hip hop that sounds fresh despite the fact it could easily have been lifted from their 11 year old debut, although once again – at just over 2 minutes – leaves you wanting so much more.