GRAMMY®-winning producer and Monom Records founder Alexx Antaeus has made a bold claim ahead of the 2026 GRAMMYs: Keznamdi’s latest album is the best reggae album of the year — and the frontrunner to win the coveted golden gramophone.
In an exclusive conversation with World Music Views, Antaeus, a Recording Academy voter for more than two decades and producer of Julian Marley’s GRAMMY-winning Colors of Royal (2024), declared with confidence:
“Without a doubt, in my opinion, the best reggae album that was released this year is Keznamdi’s. Mark my words — at the very least he will get nominated, and he’s a high contender to win. I’d be very surprised if he doesn’t.”
Antaeus has predicted accurately two of the last three Best Reggae Albums and this year he says Keznamdi’s project stands out because it merges tradition with innovation — a balance reggae desperately needs in 2025.
“That album is reggae cutting-edge — it utilizes the foundation of the genre but introduces fresh new ideas. That’s where reggae needs to go. It can’t keep recycling the same sounds and expect new results.”
Keznamdi’s BLXXD & FYAH eleased on August 22, immediately went to No. 1 on the U.S. iTunes Reggae Albums Chart while sneaking multiple singles such as “Time”, “Pressure”, “Identity Crisis”, and “Serious Times” into the top 10.
Dancehall artist Masicka is featured on “Forever Grateful”, and Mavado on “Bun Di Ganja (Roots Version).”
Overall Antaeus is disappointment in the crop of reggae releases this year.
“Not too many projects impressed me,” he admitted. “I was hoping there would be stronger albums. But Keznamdi delivered something serious.”
He added that while artists like Lila Iké, Spragga Benz, Baby Cham, and Vybz Kartel have all released noteworthy work, Keznamdi’s effort “stands in a league of its own.”
“I like Lila’s album a lot,” he said, “but nobody has an album at the level of Keznamdi’s.”
Why Marketing — Not Bias — Determines GRAMMY® Outcomes
Beyond predictions, Antaeus, who has nine submissions in this year’s tally across several categories, dismantled one of reggae’s most persistent myths: that the Marley family always wins.
“We’ve proved that wrong,” he said. “Julian Marley was nominated twice before he finally won in 2024. Koffee, a brand-new artist, beat him in 2020. The Marleys win because they work hard and market their products well. The name helps, but it’s not a guarantee.”
He stressed that many artists fail not because of talent, but because of poor marketing and lack of visibility among Academy voters.
“You could have the best reggae album ever produced, but if we — the voters — don’t know about it, we can’t vote for it,” Antaeus explained. “It’s not about popularity or sales. The GRAMMYs are about the people who take the time to make their art visible.”
How to Break Into the Recording Academy
When asked how Jamaican artists can increase their chances at GRAMMY success, Antaeus was clear: get involved with the Academy.
“To become a member, you must be recommended by two existing members and have at least twelve released songs — singles or an album,” he said. “That’s the starting point. Once you’re in, attend the events, meet people, build relationships. That’s how the music gets heard.”
He also pointed to the Miami Chapter as a key entry point for Jamaican creatives.
“Miami is only an hour away from Kingston. The Academy hosts showcases, mixers, and advocacy events — like our recent trip to Washington to discuss protecting creators from AI exploitation. That’s where connections are made.”
Marketing on Any Budget
Antaeus revealed that promoting an album to the right voters doesn’t have to cost millions.
“You can market a record from zero to tens of thousands of dollars. Zero if you know how to use social media strategically — target the Academy members, post smartly. For $500–$700, you can hire firms to send your album directly to voters.”
He also acknowledged the value of media visibility:
“Take an ad in Billboard’s GRAMMY issue — or better yet, the World Music Views GRAMMY issue. People in the global reggae community, including myself, read it. WMV has become the go-to source for credible reggae coverage.”
The Impact of a GRAMMY® Win
For Antaeus, the benefits of winning a GRAMMY extend far beyond recognition.
“It opens doors and raises your rates,” he said. “After we won, Julian’s live rates went up. People take you more seriously. Before, I’d sometimes take projects without an advance — now, I don’t touch anything unless I’m paid upfront. A GRAMMY is a stamp of approval.”
Still, he remains open to working with artists he believes in:
“If someone can’t afford me but has a good project, I’ll still help. But for the most part, this is my livelihood — producers don’t have live shows to make money from.”
