"Are you ready for your blessings?" It seems like a simple enough question with an obvious enough answer but just a little introspection can confirm the conflict there; that many of us don't know how to see or accept positivity when and how it comes. On Chicago artist, Chance the Rapper's recently released jubilant third solo effort Coloring Book, the question is brought forward in a closing statement, following fourteen transcendent gospel-tinged songs, channeling the 23-year-old rap prodigy's self-affirming personal journey towards sanctified happiness. His generously free spiritual-based tutorial - brimming with critical goodwill, religious undertones and conscious-minded hope - is a cohesive sonic statement directed at a generation struggling to find peace and purpose among conflicted priority, along with redemption for the windy city he hails from. God bless millennials and god bless Chicago.

Speaking to the faithful and faithless, Chancelor Bennett's Apple Music exclusive opus takes us to church through storytelling humility and spirited gospel-rap exuberance as he, in unison with a tormented city, prays for their souls, their families and their future through uplifting worship. Authentic joy is a replacement for the dominating fear-mongering narrative that often controls Chi-town's reputation, as Chance celebrates the city's duality as he does the contrast of life, (and the happiness and heartbreak that comes with it.)

But the rapper's eccentric bliss is a reminder that positivity is not naivety and that too often we accept pessimism as realism. Chance's euphoric odes in dedication of pleasure, love and faith may come off a little camp-counselor-at-Bible-camp throughout the career-defining tape but just when it seems applicable to write him off as surface-level, Chance says something so real, it hits hardest off its abruptness alone. "Jesus' black life ain't matter. I know, I talked to his daddy," he raps on album-closer 'Blessings,' proving that instead of ignoring the issues plaguing Chance's world - political, social and industry-based - he'd rather change his (and maybe even your) ideology instead.

It's a brave purpose-driven direction elevating Chance from alt-rap wonder-kid to compelling fully-formed adventurous artist, through elastic vocals and melodic gymnastics on expansive album standouts like 'Angels' and 'Finish Line/Drown'. While swirling sunny jazz, flavoured funk and opulent gospel have also merged on recent offerings from artists like Kanye West and Kendrick Lamar, Chance the Rapper's Social Experiment-produced instrumentation – attributed most notably to praiseworthy organs, triumphant horns, with the accompaniment of erupting choirs - is solely interested in sonic elation and churning out like-minded energy. And in the church of Chance, the congregation is large in scale and participation. Kanye West, Justin Bieber, Young Thug, Future, Lil Wayne and Jay Electronica are in attendance and deliver their Sunday best, through confident statement-based features that support Chance's community-based positive perspective.

While balancing between secular inspiration and religious values on the long-awaited follow-up to 2013's Acid Rap, Chance the Rapper has found and accepted his blessings in the small things and inspiration in the divine. Sonically and conceptually, the all-purpose artist isn't interested in coloring in between the lines, but focused instead on offering a vibrant option to things once defined as black and white.