Artist: Janelle Monáe
Album: The ArchAndroid (Suites II and III of IV)
Label: Bad Boy
As debut albums go, Janelle Monáe’s is one which could not be accused of lacking in ambition. The ArchAndroid is bursting at the seams with creative zest. Spanning a vast number of diverse genres, it could be accused of being too scattered if it weren’t for the absolute joy running throughout and the utter conviction with which she somehow pulls it all off. Inspired by the sci-fi German expressionist film Metropolis, it’s a concept album about a future where androids are the feared “other” in society, but Monáe convinces us to embrace them and that “androids are sexy!”
Unlike Madonna-reincarnate Lady Gaga, Janelle Monáe has true variety of talent and uniqueness of vision. This album is somehow more than the sum of its many parts: it is never stale, but also never chaotic. It’s brilliantly composed and has insane cohesion of vision for such a massive project. It’s fitting that The ArchAndroid is largely produced by Big Boi; his Outkast partner Andre 3000’s The Love Below is perhaps the closest in spirit to what Monáe has concocted here. It’s certainly not short on theatrics. But Monáe has honed in her eccentricities and eclectic taste to something both focused and loose. Taking The Love Below comparison further, the one-two punch of ‘Cold War’ and ‘Tightrope’ is definitely Monáe’s ‘Hey Ya!’ moment, and she revels in it. Check out the video for ‘Tightrope’—she can certainly bust a move. (Is that an updated moonwalk?)
Her talent as a singer alone is impressive—at times like Janis Joplin (‘Come Alive’) and at others uncannily similar to Lauryn Hill (‘Neon Valley Street’) and even sometimes a prepubescent Michael Jackson (‘Faster’). And that’s not even taking into account her songwriting abilities. She masters styles ranging from psychedelic space-rock, funk, beautiful soul numbers, R&B, hip-hop to folk, and 50’s girl group harmonies with sweeping orchestral arrangements lending it all a panoramic depth.
Where many lesser artists get trapped by the limits of a concept like this imagined future world, Monáe avoids the pretention these projects can become by her sheer exuberance; her hugely likeable personality. It’s ultimately unnecessary to buy into the overarching concept. This is an immensely enjoyable album, front to back, filled with universally human themes and should have a wide appeal. She deserves all the success she gets.
4/5