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Janelle Monáe – The ArchAndroid (album review.)

May 23, 2010

I literally don’t know where to start with this review.  Comparisons have been made to James Brown (the lead single “Tightrope” has a funky, dirty bass and backchat with Monáe’s band), Judy Garland (“Oh, Maker” features a stately purity of voice in its verses, only to give way to a joyful exaltation of a chorus, and is one of the album’s highlights) and even Erykah Badu (Monáe sings with a knowing voice, sometimes sounding wise well beyond her years while not even connected to this cosmos).  But Janelle Monáe is undeniably her own woman: crazy hairstyles, performing in black-tie tuxedos, employing ethereal instruments coupled with double-time beats, composing her material in suites… It would be audacious enough if it didn’t succeed, if Monáe were above her station with this Metropolis, 28th century high-concept shit.  But she’s not.  Although at times The ArchAndroid feels a bit like it’s overreaching, the vast majority of it is exciting, mindblowing and more than a little bizarre.  This makes it one of the boldest releases to come out in quite a while.

I’m not going to attempt any detail of the story behind this album; it’s only vaguely important to the running order of the songs.  In very brief, Cindi Mayweather was an android who fell in love; the cyber-hunters were invited to hunt her down; she has since discovered the ArchAndroid helmet which displays the city of Metropolis on the top – yep, that’s the album cover above! – and has transformed from pariah to messiah for the robot population of Metropolis.  Monáe creates a textured evocation of this hyper-space reality within her music, and it’s appropriate that The ArchAndroid sounds nothing like anything else in current popular music.  However, its melodies are still catchy, its production tricks are still appreciable (although the music sounds far removed from anything Sean “Diddy” Combs would touch, Monáe is signed to his BadBoy imprint, whose releases normally display impeccable production values – if, at times, little else), and the meanings behind the inventive, often poetic lyrics (from “Say You’ll Go” – “Love is not a fantasy / A haiku written in Japanese”) go beyond the specifics of the Metropolis concept to speak more generally of love, society, and human emotions and situations.  In other words, Monáe hasn’t concept-ed herself into oblivion; the songs can still have meanings to each individual listener, which is important because we still need to relate in order to truly engage with the music.

Moving to the specifics of the music on The ArchAndroid, it’s a hefty album, comprising two suites that are much weightier then Monáe’s The Chase EP; that disc had three songs which were swift, exciting and irresistible.  The special edition had two extra non-concept tracks; a plea to the President for social consideration, and a beautiful, restrained cover of Nat King Cole’s “Smile”. Monáe may not be a vocalist in the same way as Beyoncé, Mariah Carey or Christina Aguilera, but she has an extraordinary control of her instrument, and displays its versatility when songs require it (similar, in a way, to Toni Braxton or Sade).  On The ArchAndroid, Monáe alternately displays grace (“Oh, Maker”), subtlety (“Sir Greendown”), uninhibited release (“Come Alive (The War Of The Roses)”) and an old-school sensibility that fuses scat, Broadway and Latin rhythms (epic closer “BaBopByeYa”).  Suite II (the first suite of The ArchAndroid) is generally more immediate and accessible to the uninitiated listener: after a classical intro (although its concept hangs together flawlessly for most of the album, the instrumental interludes may be slick but they are still unnecessary filler!), Monáe gets straight down to business with the help of spoken word artist Saul Williams for “Dance Or Die”.  Beats fibrillate below Monáe’s haughty poetry, and before the listener knows it, the song segues into “Faster”, into “Locked Inside”…; before you know it, you’ve reached subdued ballad “Mushrooms & Roses” and Suite II is nearly over.

The seamless melting of one song into the next is a neat production trick, but one that we have seen before.  It has its risks, since the listener has to pay attention to his iPod, CD player or media player of choice in order to determine where one track ends and the next begins.  If the songs are dull, they risk totally going over the listener’s head.  Luckily, the majority of The ArchAndroid has enough memorable hooks, production tricks and bizarre sections to stick in the mind and merit repeat listens.  Suite II is far stronger than Suite III for this however; Suite III, although shorter, is much denser and ethereal. Although Suite II had some lovely slower material (“Oh, Maker” and “Sir Greendown”), Suite III seems weighed down by the lack of upbeat or midtempo songs.  “Make The Bus” is an ok effort but hardly lives up to the breathtaking pace of Suite II; “Wondaland” seems altogether too precious.  However, Suite III comes into its own as it reaches its conclusion: “57821” (the serial number of the robot Cindi Mayweather) begins to engage the listener with its subtle, undulating backing, before the majesty of closing tracks “Say You’ll Go” and “BaBopByeYa” unfurls.  In all, Suite II is stronger and more addictive listening, but Suite III has its moments despite its more downbeat demeanour.

Why does it all work? It’s beyond me, as Janelle Monáe seems to have thrown everything and the kitchen sink into this album – in terms of lyrics, vocal approaches, production tricks, musical genres, concept… It’s a miracle that it doesn’t sound overblown, desperate or self-important, but for the most part – it doesn’t.  Only on “Wondaland”, “Mushrooms & Roses” and “Neon Valley Street” does Monáe sound a tiny bit like she’s faking, stalling while she scrabbles for a new idea with which to blindside us.  The vast majority of The ArchAndroid is not only severely impressive, but sounds genuine.  Which makes Janelle Monáe a hugely talented, innovative young woman, and one of the best new artists to emerge in recent years.  Take a listen to The ArchAndroid and prepare to be both mentally and aurally stimulated.

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4 comments

  1. i prefer to buy those cd players with anti-shock mounts because they are much better `*:


  2. […] 8. Janelle Monáe – The ArchAndroid (check my review here!) […]


  3. […] “temporal” is not the opposite of “eternal”, and there were flashes of Janelle Monáe’s ArchAndroid inspiration hither and thither), and I most of all like what the song stands for. This will be the […]


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