Despite the acclaim, along with admiration from the likes of Janet Jackson and Teedra Moses -- two of the major figures whose material he transformed -- the Port-au-Prince-born Montreal native wanted to be known as an artist in his own right.
A low-profile series of digital and vinyl releases dated back to 2010.
In late 2014, he graduated to XL as he expanded his production discography for other artists.
The dazzling 99.9% follows some of his best work in that nature, including Freddie Gibbs' "Dope House," the Internet's "Girl," and Katy B's "Honey." The album likewise is mostly collaborative, with only four of the 15 cuts created by Celestin alone.
On "Lite Spots," sampled Gal Costa is whipped into a state of delirium over a beat that alternately whomps and tickles.
The assortment of vocalists -- rappers, singers, and a few who pull double duty -- naturally results in a diverse set of perspectives, most of which regard love and relationships of short- and long-term natures.
Combined with beats seemingly tailored for each voice, the album could have resembled a disorderly production showcase, yet Celestin applies his experience as a deeply knowledgeable selector to stitch it all together with few obvious seams.
One of the more stupefying instances where Celestin layers dazed and robust sounds is buried toward the end.