Janelle Monae’s debut studio album,
Archandroid, although only ever teetering on the edge of the mainstream, was
unusually accomplished in a way that made you wonder: just how did this young
new artist produce a record with the kind of meat on its bones that Fugees and
billboard chart educated Lauryn Hill achieved with The Miseducation of Lauryn
Hill.
Released in September, the Electric Lady furthers the
storytelling concept of previous EP’s and albums, with the messianic
Archandroid character of Cyndi Mayweather still very central within the
narrative of the music. For those not acquainted with the character; think
Beyonce’s Sasha Fierce but rooted in the grandiose sci-fi mists of Fritz Lang’s
1927 Metropolis, with a goal to lead a futuristic race of mechanical outcasts
to a harmonious and unprejudiced state of equality.
There are clear lines to be drawn with the themes in The
Electric Lady and the life of a young, female, black, androgynous and outspoken
Monae. However, the message is not as preachy it sounds when intertwined with
crisp, clean beat formations, catchy hooks, unending tasters from ever genre
imaginable and obvious technical prowess; possibly aided in some part by early
mentorship from Wondaland record label partner and former OutKast member, Big
Boi.
The album is far more attainable than Monae’s previous
work with a healthy mix of influences, capably represented to never overwhelm
the overall sound of empowering, inventive Funk and Soul. Monae has created
something which, although in many ways is still significantly niche, is easy
for most to absorb whilst boasting more than a handful of stand out, chart
worth hits. Even the skits and messages of Cyndi Mayweather’s mission bleed
into tracks with enough grace and humour to be enjoyed, not endured.
In the short time since the album’s release, critical and
audience acclaim has been in abundance; the record’s first single, Q.U.E.E.N
received 31,000 digital sales and four million YouTube views within its first
week of release alone. The record will no doubt open up to a wider base of
listeners thanks to an impressive collection of collaborators including
Solange, Erykah Badu, Prince, Miguel and more; all of whom contribute solidly
to Monae’s vision, rather than just providing a trophy presence
Prince leads us into a distinctly reggae state, unseen
anywhere else within the “suites” of The Electric Lady with Give Em What They
Love. It’s a track that could almost be a little out of place on the album but
instead proves to be a refreshing change of pace, eventually brought into line,
stylistically, with the addition of the signature cinematic instrumental which
is poured all over the track towards the fade.
R&B ballad Primetime is quite possibly the sexiest
song you will hear this year, I’m not going to tell you that it will genuinely
make you horny but lets say there may be “involuntary daydreams” whilst
listening to this song. Miguel’s vocals slide up perfectly against Monae’s
whilst every part of this track ebbs with a rolling, comforting rhythm, taking
this track to a place that is way beyond smooth.
‘It’s a primetime for our love, ain’t nobody peeking but
the stars above…’
The self assured, empowered anthem Q.U.E.E.N. (backed by
a glossy, black and white dream of a music video) provides a perfect arena for
Monae and 90’s soul legend Erykah Badu to bounce their different yet
complimentary swags off of each other, surrounded by a vibrato filled bass line
that’s heavy and full of funk.
The next single taken from the album is Dance
Apocalyptic; a controversial track which seems to have split opinion equally
between “is she serious, this sounds like Looney Tunes does R&B” and those
who share my opinion: this is unashamed pop, done very well.
If the Gogo’s had a musical baby with Jack Johnson,
whilst the Soundtrack from Greece watched, well that baby would sound like
this. But it is surprisingly refreshing to listen to something so relentlessly
upbeat and think ‘it’s fine, this is actually cool!’, and yes, if you listen
closely enough there are yet more subtle references to Monae’s futuristic
vision.
As for title track Electric Lady, it’s important that I
warn you: you may never stop listening to this song! Aside from the fact that
it is impossible to keep still to, this fist-pumper carries a high quality
disco prowess with enough modern day edge to let it slide seamlessly into any
DJ set of a Saturday night: think Beyoncé meets Sister Sledge, with a teeny
hint of Pat Benatar. Dance floor perfection!
The album will no doubt face critique for being a dumbed
down version of its predecessors, some might even accuse Monae of selling out
to achieve vaster listening figures. As an artist, Monae is clearly not
superficially bouncing in and out of musical styles, borrowing and forging. She
is consciously hoping to transform the genre into something grander, fresher
and entirely more exciting.
Yes, The Electric Lady may seem less ‘ground-breaking’
than her previous offerings but after setting the bar so incredibly high, of
course the follow up act will seem like a continuation rather than yet another
entirely original body of work but the themes are anything but stale; they have
developed into a fuller, more intoxicating chapter of the Metropolis tale.
Overall the album walks a thin and impossibly smart line
between the mainstream and avant garde, music and script, entertainment and
education. We never doubt that we’re listening to the work of a woman who stays
away from cheap tricks; her confidence, sexuality, strength and capability worn
as proudly as the bow-tie on her freshly starched tuxedo. Whether on the
record, in person or in video Janelle Monae hasn’t had to lick a sledge hammer
and ride heavy machinery stark bollock naked to make our ‘antennas stand up’,
you won’t even see a collar bone and you won’t need to!
At times, The Electric Lady is like a movie soundtrack
from some post-apocalyptic, impossibly stylish, film noir masterpiece, nodding
all the while to the Ziegfeld follies and the golden age of Jazz. Do yourself a
favour: take a night, invest in a bottle of merlot and a packet of vogues and
just let this wrap all around you, explore it and get totally lost within the
cinematic suites a rarity that simultaneously stimulates and pacifies.
One thing is certain: nobody’s switching off this
Electric Lady anytime soon. Spark on Cyndi Mayweather!
