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вЂњToday I might snow/Tomorrow IвЂ™ll rain,вЂќ Andre croons on вЂњBehold a Lady.вЂќ вЂњ3000 is always changing/But you stay the same. With The Love Below, Andre 3000 has packed up what he wanted to keep from the group (the right to be peculiar in a hip-hop context), slung it over his shoulder and headed out toward parts unknown.

Big Boi is trying to shoulder the burden of OutKast on Speakerboxxx - to essentially re-create the group on his own. Often Andre sounds like heвЂ™s trying to make an album thatвЂ™s more eccentric than he actually is - and thatвЂ™s saying a lot.Д®ach of these albums is as noteworthy for whatвЂ™s missing as for whatвЂ™s there. Sometimes AndreвЂ™s sonic guesswork is genius - he holds his own alongside Norah Jones on the lithe duet вЂњTake Off Your CoolвЂќ (and plays guitar to boot) - but not all the accidents on The Love Below are happy. On the beguiling вЂњHey Ya!вЂќ he yaps like an indie-rock Little Richard over a breezy Abbey Road arrangement. He almost exclusively sings, often in falsetto (вЂњLove HaterвЂќ), occasionally like an eight-year-old at a family holiday party (вЂњSheвЂ™s AliveвЂќ). Below wants to be PrinceвЂ™s Lovesexy, but even more unhinged. But Speakerboxxx doesnвЂ™t quite achieve the transcendence of Stankonia - the hooks arenвЂ™t there, and neither is their earlier albumsвЂ™ sense of risk and possibility.ДЄndreвЂ™s The Love Below, on the other hand, is all about disorder. On Speakerboxxx, Big Boi continues exploring the future-crunk OutKast perfected on Stankonia - bubbling psych-soul on the politically minded вЂњWar,вЂќ minimalist 808 electro on the outstanding вЂњThe Way You Move.вЂќ Perhaps not surprisingly, many of SpeakerboxxxвЂs best beats are AndreвЂ™s: вЂњGhetto MusickвЂќ resembles the fight song of an Afro-psychedelic superhero, and вЂњLast CallвЂќ is punctuated with maniacally stabbing horns and what sounds like a theremin gone wild. Speakerboxxx/The Love Below, their fifth album, is as divided as its title: two separate discs - the former by Big Boi, the latter by Dre - packaged together. There they are on the albumвЂ™s back cover: Big Boi defiant in a Cubs throwback jersey and a mild blowout Afro, Andre in Hendrix head wrap and bandleader uniform, laughing at a joke itвЂ™s likely no one else in the room - or the world, for that matter - hears. By the time of 2000вЂ™s whip-smart Stankonia, the most expansive and promising black pop record of the last decade, Big Boi had taken a big artistic leap forward, only to find that Dre was practically off the map. 1998вЂ™s aquatic-funk attack Aquemini was their first masterpiece, but it was also the first time Big Boi and Andre felt palpably out of step, with flamboyant risk-taker Dre sitting out a couple of his partnerвЂ™s rougher numbers. In time, though, the seams that held them together began to fray. The tag-team rhyming and easy-Sunday soul of their 1994 debut, Southernplayalisticadillacmuzik, showed that Southern hip-hop could be more than booty talk and rote gangsterism. When OutKast first hit in the early Nineties, they were like-minded neighborhood intellectuals, and the most creative, if often unlikely, pairing in rap - a street-savvy hustler (Antwan вЂњBig BoiвЂќ Patton) and a poet on a perpetual mission of self-discovery (Andre вЂњAndre 3000вЂќ Benjamin). On вЂњTomb of the Boom,вЂќ from his half of the duoвЂ™s new album, he raps, вЂњThey say, вЂBig Boi, can you pull it off without your nigga Dre?вЂ™/I say, вЂPeople, stop the madness, вЂ™cause me and Dre be OK.вЂ™ вЂњ OutKastвЂ™s Big Boi sees the sharks circling, sniffing for blood.