Janelle Monae - The Electric Lady
Release Date: September 6
Label: Wondaland Arts Society
Rating: 9.0 out 0f 10
Label: Wondaland Arts Society
Rating: 9.0 out 0f 10
You would be correct to say that Miss Janelle Monae is entirely contrived, and it wouldn't be a diss. She totally is. From her pose(s) on the cover to her look in general to her debut "concept" album, this is a lady who has taken creative control of all of the aspects of her image. And done wonders with them. She stands alone as one of the most unique and likeable artists of this modern age.
I personally did not really like her debut 'The Archandroid'. Say that within earshot of any of the Metacritic users and you will be hunted down and wedgied to within an inch of your life. But I didn't. It was too much. I caught glimpses of what she was capable of, but much of her natural talent was lost in overproduction and nonsense about robots. And I have a very big problem with albums that have 'Suites' and 'Overtures' and 'Interludes'. It really grinds on me. 'The Electric Lady' once again starts with a "Suite Overture", but this one is really interesting. It has a Tarantino type guitar vibe to it, building to a James Bondy type string section before fading out. And in that sense, it perfectly encapsulates what this album is all about. There is a LOT happening here still. He's so small, but every time Prince shows up on an album, space feels immediately crammed. Not the best way to start, but their vocal styles really compliment each other. The fillers on this album take the form of a 1970s phone in radio show, with DJ's and listeners telling the story of the album. So I don't mind them so much. They feel necessary and not wastes of space. 'The Electric Lady' also feels less full, a little bit more streamlined and focused. Erykah Badu and Solange bring the party. Esperanza Spalding delivers a Sade-esque ballad. Miguel contributes to my favourite moment on the album: 'Primetime' - a tender, heartfelt R & B ballad that doesn't once stray into cornyness.
'Victory' sounds very Roots inspired, 'It's Code' sounds constantly like it's going to stray into an R & B version of 'The Girl From Ipanema" and 'We Were Rock & Roll' teeters very close to the edge of glittery disco, but close enough in Monae's area for her to dominate and define.
'The Electric Lady' has a definite feel to it, drawing all inspirations together into a package tighter than Sophia Vergara's gowns. It is more accessible and no less enthralling than 'Archandroid', with enough layers, attitudes and shades of talent to impress even the most narrow minded. This is the sound of the future. She does all things well and it is an immense pleasure to see her journey. I predict only good things for her. Do yourself a favour and own this album. You will not be upset.
WVS
I personally did not really like her debut 'The Archandroid'. Say that within earshot of any of the Metacritic users and you will be hunted down and wedgied to within an inch of your life. But I didn't. It was too much. I caught glimpses of what she was capable of, but much of her natural talent was lost in overproduction and nonsense about robots. And I have a very big problem with albums that have 'Suites' and 'Overtures' and 'Interludes'. It really grinds on me. 'The Electric Lady' once again starts with a "Suite Overture", but this one is really interesting. It has a Tarantino type guitar vibe to it, building to a James Bondy type string section before fading out. And in that sense, it perfectly encapsulates what this album is all about. There is a LOT happening here still. He's so small, but every time Prince shows up on an album, space feels immediately crammed. Not the best way to start, but their vocal styles really compliment each other. The fillers on this album take the form of a 1970s phone in radio show, with DJ's and listeners telling the story of the album. So I don't mind them so much. They feel necessary and not wastes of space. 'The Electric Lady' also feels less full, a little bit more streamlined and focused. Erykah Badu and Solange bring the party. Esperanza Spalding delivers a Sade-esque ballad. Miguel contributes to my favourite moment on the album: 'Primetime' - a tender, heartfelt R & B ballad that doesn't once stray into cornyness.
'Victory' sounds very Roots inspired, 'It's Code' sounds constantly like it's going to stray into an R & B version of 'The Girl From Ipanema" and 'We Were Rock & Roll' teeters very close to the edge of glittery disco, but close enough in Monae's area for her to dominate and define.
'The Electric Lady' has a definite feel to it, drawing all inspirations together into a package tighter than Sophia Vergara's gowns. It is more accessible and no less enthralling than 'Archandroid', with enough layers, attitudes and shades of talent to impress even the most narrow minded. This is the sound of the future. She does all things well and it is an immense pleasure to see her journey. I predict only good things for her. Do yourself a favour and own this album. You will not be upset.
WVS
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