Leave It All Behind is the rare concept album that doesn't feel forced. Like the relationship that is chronicled throughout, the album ebbs and flows in the key of life. "Daykeeper" is an understated opener, a quiet celebration of mutual love and dependancy driven by atmospheric keys and ethereal background vocals. As Phonte and Muhsinah trade plaintive vocals of laying together, watching over one another, the song takes on an almost voyeuristic quality, like we shouldn't be sharing such an intimate moment with the two lovers. The song sets the tone perfectly, establishing not only the chemistry between lyrics, vocals and production, but also within the romantic narrative that drives the album. The perfect counterpoint to "Day Keeper" is "House of Cards". Over a drum and bass groove and urgent keys, 'Te and Muhsinah again trade mirroring verses, but this time the words are filled with distrust and deception. It is precisely such nuances in which the beauty of LIAB lies. This isn't an album about falling in love, nor it's demise. It's about all of the ups and downs and detours along the way. The fickle way of the romantic pendulum is best exemplified at the project's mid point, when he jazzy jubilance of "Sweeter Than You" transitions into the remorseful melancholy of "Valediction" so seamlessly that before the listener even realizes the former has given way to the latter, sweet has apparently gone sour.

Fans of 2004's Connected know that the creative chemistry between Phonte and Nicolay is irrepressible. That hasn't changed, even as the focus has shifted from razor sharp rhymes to soulful vocals. Yet, this time it's the supporting cast that elevates LIAB from good to great. As a singer, the surprisingly engaging Phonte suffers at times from a lack of refinement and dexterity, but gets by with a little help from his friends. Long time collaborator Darien Brockington adds vocal polish to several tracks, as does Victor St. Clair, allowing 'Te's emotive earnestness to shine without having to carry the record. Even more integral to the project is the juxtaposition of female voices, provided throughout by Muhsinah and Yahzarah. Their easy rapport with 'Te and 'Lay not only underscores the motif of chemistry, but also prevents the romantic ruminations from becoming a one sided affair. The synergy between all of these perfectly placed pieces reaches it's apex on the album's penultimate track "Something to Behold," with 'Te, Muhsinah and Brockington celebrating the triumph of love (and chicken wings), over Nicolay's propulsive drums and airy keys.

Given the up and down nature of the album's narrative, and its somber black and white cover art, listeners could easily be forgiven for perusing the track list and pegging the closer, "Leave It All Behind" for a break up song. What unfolds instead is an unexpected, yet beautifully affirming culmination of everything that has preceded. Once the album's final note has faded out, you'll want to listen again, because in the presence of such impeccable chemistry, it's hard to Leave It All Behind.