The Electric Lady
Janelle Monáe
Released by Wondaland Arts Society and Bad Boy Records
In a time when the art of the concept album has seemingly been long forgotten, someone like Janelle Monáe is the perfect person to bring it back.
Since 2007, she has been doing just this with her seven-part concept series titled Metropolis. Catching the ears of listeners in 2010 with her incredibly well-received debut, The ArchAndroid (containing suites II and III of the conceptual series), Monáe created a world of science-fiction wonder combined with themes of love and self-discovery.
With this year’s The Electric Lady serving as parts four and five in the series, she has once again put forth an equally ambitious and gripping effort, drawing the listener back into her universe of both the mechanical and the musical.
Monáe’s musical output can be described as somewhat of a melange of hip hop, R&B, and soul music. The Electric Lady is no exception to this claim.
The album also explores uncharted territory, making a foray into other genres such as jazz, rock, and disco. It’s a bit of a new direction for the young artist on guitar-driven album opener “Givin’ ‘Em What They Love,” which sees Monáe line up alongside Prince to deliver a big-time stomper complete with a bombastic horn section and soaring rock goddess vocals.
It’s only three tracks later that she opts to slow things down with the sensual slow-jam “Primetime,” delivering an emotional number with a feature from Miguel.
Right after, Monáe shifts gears and gets her dancing shoes on for neo disco-infused “We Were Rock & Roll,” with busy basslines throughout, a gospel choir, and some wonderfully executed vocal harmonies.
The swooshy Latin number “Look Into My Eyes” also needs a mention as a short, beautiful close to the first half of the record.
Monáe is all over the map, and never once does it feel like she is trying to cram too many genres into this album at once as a creative device. Everything flows and segues quite naturally, as it should.
A few other guest features Monáe was able to land for The Electric Lady play out quite well. One of the biggest is on the album’s first single “Q.U.E.E.N.,” featuring Erykah Badu. The funky, flashy number is an early standout on the disc, all about being yourself: “I’m cutting up, don’t cut me down/Yeah I wanna be, wanna be Queen.”
“Electric Lady” is another groovy cut early on, featuring Solange Knowles. Quite anthemic in nature, it screams independence and celebration when Monáe sings, “Electric Lady, get way down/‘Cause tonight we gon’ do what we want to.”
The Electric Lady is another wonderful instalment in Janelle Monáe’s Metropolis concept series, remaining musically interesting while also excellently expressing elements of futurism and feeling. You might just say that the concept is truly out of this world.
