ALBUM REVIEW
by Shardae Jobson
(released on May 18, 2010)
Janelle Monae's first studio album is as dramatic and mirthful as her Annie Hall style, and adorably, curly pompadour promises. The intro "Suite II Overture" is sweeping with its intense orchestra, obviously bringing to mind the scores and scenery of old Hollywood films, and in symmetry to her 2008 EP, Metropolis: The Chase Suite. The first song "Dance or Die" featuring spoken word icon Saul Williams, immediately trances the listener with Monae's fast-talking, metamorphic lyrics of the intimidating future that is often her inspiration. The packaging of The ArchAndroid is meticulously detailed with images of an overly innovative metropolitan city, as Monae worriedly poses as its appointed leader under the name of "Cindi Mayweather". Apparently, Monae/Mayweather is actually from the year 2719, and her album is a prematurely discovered time capsule of a period none of us right now will experience. How quaint it is that Monae fits right into the year 2010 for not being supercilious in her choices of majestic aspirations, but for creating music that is certainly progressive, but also just plain well-done.
The ArchAndroid is stunningly beautiful as Monae carries a thoughtfully blithe quality that separates her from the other contemporary R&B singers, yet Monae's music is just as girly and accomplished, showing much support for the freedom of expression. She willingly displays her voice's marvelous range that is as soothing as a church choir that sings of better days ahead and keeping your head up through the bad times, like on "Locked Inside".
Monae is different without aggressively pushing her incomparable characteristics like an antidote we didn't ask for, and is a unique force because she's conscientious without condescension towards the listeners who don't have a clue about what life is like in 2719. The ArchAndroid is also an exception in its artistry for Monae's musical influences are hard to find within her music aside from using the general terms of science fiction, 20th century modernism, and the vast future. What you hear on the album is truly of her authority, and the sound is highly thrilling.
To speak again of her voice is a must because more so than the sound, it is her vocals that give the album what some critics may lazily refer to as genre-bending. Monae's album is a R&B/Pop record, but when she sings, she goes from making a catchy tune of uplift on "Tightrope" when two tracks before, she reflected a crestfallen woman wondering when her turn will come on the theatrical "Sir Greenwood". While this is a skill that is necessary in conveying emotion in any form of spoken art, Monae does it so well, she is a method actor on The ArchAndroid. She even takes the proverbial route of becoming her own rock star on "Come Alive" that is all her sparklingly all own her because Monae doesn't care to be a Jett or (Axl) Rose. Remember now: she's Cindi Mayweather.
Due to her androgynous outfits and graceful, porcelain doll face, it is easy to forget that Monae is a young woman whose been through the same ups and downs as her fellow broads, and some tracks pertain to the sides of this artist that yearn for intimacy and of romantic regret, delivered in a rather coquettish voice of disclosure that is labeled as "vocal pining and wooing" in the liner notes (prepare to become incredibly smitten with "Oh, Maker"). The guitar playing on "Neon Valley Street" are also evolutionarily lascivious thanks to the "solo sweetness" of Kellindo Parker and "bass hearthumping" by Nate "Rocket" Wonder.
There are eighteen tracks on the album (that go by seamlessly), and the acclaimed indie band and tour favorite, Of Montreal, make an unexpected cameo on "Make the Bus". The song isn't groundbreaking, but fits swimmingly into Monae's welcoming avant-garde island. Like many artists of today (or 2719) she is love with both the future and the past, but just so happens to be around to witness the present.
Sean "Diddy" Combs described his signing of Monae as one of the most important decisions of his career, as months before she became a part of his Bad Boy family. Considering his flumbling label that he's desperate to reboot along with Rick Ross and Nicki Minaj, not only does Diddy need someone super smart and talented like the chosen one Janelle Monae, we all need her in part of keeping today's confusing musical landscape alive and radical. Here's to you Monae. We look forward to hearing what 2720 will sound like. Keep us posted.
THE BEST: "Faster", "Locked Inside", "Sir Greenwood", "Cold War", "Oh, Maker", "Come Alive (The War of The Roses)", "Mushrooms & Roses", "Neon Valley Street", "Wondaland"
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