Album Review: Janelle Monáe - The ArchAndroid (Suites II and III) (4.5/5)

A lot of high-minded concepts get thrown around to describe The ArchAndroid (Suites II and III), the debut studio album from Janelle Monáe. "Afrofuturism" for example, a form of historical and science fiction that critiques Western notions of race, has been used to describe the album's complicated story concept. If that makes approaching the album daunting, fear not--for the music, itself described with every imaginable genre adjective, is quite inviting. We'll get into that in a minute, but first, a little back story.

Twenty-four year-old Monáe, originally from Kansas City, emerged on the scene in 2007 with her debut EP, Metropolis: Suite I (The Chase), the first in an envisioned four-part series inspired by the classic 1927 science fiction film Metropolis. The work caught the attention of Sean "Diddy" Combs, who signed her to his Bad Boy label. Monáe then toured with No Doubt and hot indie band Of Montreal.

Which brings us to The ArchAndroid, which, instead of being part II of Metropolis, actually combines Suites II and III into one long LP. It tells the story of Cindi Mayweather, a woman from the future sent back to the 21st century as an android to liberate "Metropolis" from its oppressors. Frankly, I can't follow the story as I listen to the album, but that's fine. Both suites begin with a classical overture and then proceed along pretty different lines, with Suite II being more oriented along traditional pop lines while incorporating flourishes of many genres, including pop, R&B, rock, retro soul, funk, blues and synth pop. Suite III is more experimental, with touches of progressive rock. Musical adjectives used to describe this album in the press include bepop jazz, big-band swing, British folk, cabaret, cinematic score, classical, dance-rock, disco, doo-wop, easy listening, funk, glam-rock, hip-hop, indie rock, neo-soul, new wave, pop, prog rock, psychedelic rock, R&B, rock, soul and tribal funk. Got all that?

Suite II is dominated by a mix of quality pop songs. "Dance or Die" has Monáe rapping in rapid-fire style over a mix of beats, electronic sounds and horns. "Faster" turns the tempo up even more and throws in some retro soul in an arrangement reminiscent of Mark Ronson and Amy Winehouse's "Valerie." The song references Blade Runner, or more specifically the novel it's based on, Do Androids Dream of Electric Sheep? "Locked Inside" switches gears to groovy Motown sounds borrowed from Michael Jackson.

"Sir Greendown" slows down the tempo briefly, employing an ethereal mix of synths and other instruments that recalls the cooler side of John Barry Bond scores, before "Cold War" speeds it back up in a heady mix of beats, synths and guitar. "Tightrope," perhaps the most conventional song on the album, follows. It's a great, funky pop song featuring rap from Outkast's Big Boi, who along with Combs is credited as executive producer of The ArchAndroid. "Neon Gumbo," a song apparently played backwards, follows and ends with a clap of thunder and rain as it segues into smooth, slightly folksy ballad "Oh, Maker."

Fiery "Come Alive (The War of the Roses)" puts Monáe into punk diva mode with an angry, soaring vocal over an insistent guitar melody. Bluesy, funky "Mushrooms and Roses" ends Suites II on a mellow note with Monáe's voice heavily processed. On to Suite III...

Suite III is more experimental. It's classical overture is more lush than Suite II's, incorporating some old-fashioned vocal harmonies that you can't quite make out. Sweetly mellow "Neon Valley Street" sounds like '70s Motown balladry until you get to the spooky spoken middle, followed by the funky electric guitar solo. "Make the Bus" is a collaboration with Of Montreal written by its singer, Kevin Barnes. It's an odd mix of '80s new wave and Queen-like theatrics. It also references Philip Dick's Do Androids Dream of Electric Sheep?, providing a connection with Suite II.

Monáe's voice is tweaked once again on fantastical "Wondaland," pushed (presumably electronically) into a higher register. The goofy song mixes sweet sci-fi synths with world music beats and an array of quirky effects. Light acoustic guitar underpins "57821," which has a very '70s feel to it. I tried to figure out what the title refers to, and I got a link to something related to the human genome, so given the album's human-to-android genetic concept, that's probably it. The music stays pretty mellow and atmospheric on "Say You'll Go," which layers strings, synths piano and light beats. Its final 2 minutes incorporate a lovely passage of Claude Debussy's "Claire de Lune." At 6 minutes, it's the longest song up to now, but still shorter than the 8:48 of closing piece "BaBopByeYa." It has a slinky, cinematic feel recalling '60s James Bond scores (more Barry influence) delivered with a cabaret vocal.

Suite III isn't quite as appealing as Suite II, and it's definitely stranger, but it has its moments, particularly the final two tracks. Suite II has the better chance of giving Monáe a hit, if that's even a goal. "Tightrope" or "Dance or Die" might qualify. Certainly the critics are interested--ArchAndroid's Metacritic score is 90, among the highest of any new album released this year.

Best: Dance or Die, Tightrope, Faster, Cold War, BaBopByeYa, Say You'll Go, Come Alive