Cindy Mayweather, The ArchAndroid, The Electric Lady, and Android No. 57821 all refer to one of the many characters within the universe Janelle Monáe creates in her music. Mostly known by the public for her ten second guest appearance in Fun’s “We Are Young,” Monáe carries an array of sounds and visions that haven’t been discovered by the general public. Last month, Monáe released her second album, The Electric Lady, as the third part of her conceptual series. Based on Fritz Lang’s Sci-Fi classic Metropolis from 1927, Monae’s discography follows the tale of an Android on the run.
Deciding to split the tale of Cindy Mayweather into seven suites (chapters), with the release of The Electric Lady, she has released the first five chronicling this fictional character. The release of her 2007 EP, Metropolis, is the first suite following Mayweather on the run. Composed of just five songs, the EP quickly caught on with many music sites and publicists.
Three years later, Monáe would release her first full albumn The ArchAndroid contains suites two and three. Based on its initial release, the album received universal acclaim. Amounting to a composite score of 91 on Metacritic, and even scoring number one on The Guardian’s best of 2010 for music, and nominated for Best Contemporary R&B album at the Grammys, this “up and comer” surprised many.
When titling the ArchAndroid the best album of 2010, The Guardian said, “No other album this year seems so alive with possibility. Monáe is young and fearless enough to try anything, gifted enough to pull almost all of it off, and large-hearted enough to make it feel like a communal experience: Us rather than Me.” The albums biggest single, “Tightrope” featuring Big Boi from Outkast, was just as universally loved as the album. Dubbed the eighth best song of the year by Rolling Stone Magazine, and number one in NME’s top music videos of 2010, Monáe had hit a gold mine of praise.
With her new album, The Electric Lady carries the same amount of variety and production value as anything previously released. Again split into two suites, four and five, Monáe continues. The first suite jammed with what seems to be a collection full of would-be hits, Monáe creates smart, but very danceable tracks.
She brings her big guns out quickly with her first song, “Give Em What They Love.” Featuring the R&B legend Prince in all his glory, the song is full of fun and funky grooves as the two break it down. Followed by Q.U.E.E.N., featuring another R&B legend Erykah Badu, and the title track with Solange (Beyonce’s sister). With Q.U.E.E.N., what starts as perhaps her funkiest song on the entire album, as the song progresses towards the end, she finishes the song with an outspoken rap on human rights.
She slows things down with “Primetime,” a lovely ballad with Miguel that is carried by the rawness of their vocals. Shortly after, she finds a way to break out with “Dance Apocalyptic,” instantly the closest song to becoming a major hit. Harkening back to the fast paced beat of “Hey Ya” by Outkast, the song shows her talent as a performer.
Going into the next suite, Monáe gets a bit more experimental, starting with “It’s Code” playing out like a Motown sound of the 60s. With “Ghetto Woman,” Monáe addresses several of the social-economic issues in her fictional universe that are reflective of our own. With “Victory,” Janelle Monáe shows off her vocal range by beautifully singing words of inspiration. She perfectly concludes the album with “What an Experience,” similar to the easy going synth music of the early ‘80s.
The Electric Lady is not only organic and full of rhythmic progression, but it doesn’t try to be anything more than it is. What it is, just like her previous albums, is a compilation of cinematic and entrancing songs that create an excellent double album. Looking at each song itself, every single one stands out as flawlessly executed and solid.
Concerns over sexuality, race, and identity are just a few of the major themes covered within her songs. Unlike the majority of her competitors, Monáe isn’t afraid to go with anything when it comes to her music. She also doesn’t let her persona consume her creativeness. She comes to every stage with the same amount of energy, wearing her defining suit and tie. She has played live with her idols, including Stevie Wonder, and recently performed on Letterman where she took the opportunity to dance on top of his desk. After her performance, he said: “Ladies & Gentleman, the hardest working woman in show business.”
While none of her songs have reached Top 40 stations, Monáe is currently one of the most entertaining and creative performers out there. For someone who is on the run from being immediately dissembled, one can only hope that she doesn’t stop anytime soon.