Customer Reviews

The ArchAndroid (2LP)

5 star:		(114)
4 star:		(6)
3 star:		(4)
2 star:		(3)
1 star:		(5)

 

 

The ArchAndroid is the long awaited debut album follow-up to singer-songwriter Janelle Monáe`s 2007 debut EP, Metropolis Suite I of IV: The Chase. And it was worth the wait. The music is more complex, the production is fuller, the theatrics even bigger. In short, it is one hell of a debut album.

Janelle Monáe has come up with a robotic alter ego named Cyndi Mayweather, and the Metropolis Suites are her story through an oppressive world in which she discovers she is a Messiah-like figure in hopes to free her people. Her EP first introduced the character with Suite I and her plight, and ArchAndroid is the more personal continuation with Suites II and III. I just hope we won't have to wait three more years for Suite IV.

To say that ArchAndroid is a good achievement as a debut album is a huge understatement as it is an amazing achievement. Written on paper, this CD shouldn't work, as it just sounds way too ambitious. From the conceptual plot to the multitude of genres (psychobilly, glam, hip-hop, jazz, funk, afro-beat, and film music to name a few) to the numerous big named guest artists, it feels like a mess and just too big for one person, but if her EP proved anything it proved one thing, she IS that ambitious and has the guts to attempt it. And she doesn't just succeed, she excels.

The album opens up with a sweeping, energetic orchestral overture then immediately moves on to the next three songs played without break. And with only the first 4 songs (and just as many genres), you know you are in for a ride like no other. The ArchAndroid just grips you and never eases up giving you time to breath, it just keeps moving forward. With songs like Come Alive, Tightrope, and Cold War, Suite II is very in your face compared to Suite III. Suite III starts with another overture then it mellows out with a quick burst of energy on Make The Bus featuring Of Montreal (arguably the weakest track on the album) and ends a couple of songs later with the 9 minute multi-sectioned song BaBopByeYa, one of the best songs on the album. And with all the sonic imagery Monáe puts into the album, it is easy to imagine just what is going on (Broadway, anyone?).

And a quick word about Janelle Monáe: she is one incredibly talented woman. Concept albums aren't new, but the breadth to which she reaches is amazing (almost 70 minutes of music), and to pull it off is mind-boggling. Also, the amount of different genres she is able to take on and make sound effortless is staggering. Her voice is definitely the highlight of the album, its almost magical in how she can manipulate it to get it to do whatever she wants. I expect great things from Monáe in the coming years, and if this album is any indication of what's to come, I can't wait.

The ArchAndroid isn't just one of the best Pop albums released in awhile, it is one of the best albums released in quite some time. With the combination of Janelle Monáe's vocal prowess and the amazing music and production, you will be hard pressed to find a better pop album debut.

Surely no human could possibly create such amazing genre-hopping music as this, it could only be an android. And so it is we find Janelle Monáe inspired by 1927 sci-fi movie "Metropolis" creates a cyber soul persona Cindy Mayweather and the result is "ArchAndroid...", a strong contender for album of the year.

The lyrics touch on love, war, and slavery, while the sounds range from Classical; the dramatic suite overtures, Indie; "Come alive (The war of the roses)", trippy Rock; the psychedelic Hendrix-channeling "Mushrooms & roses" with distorted vocodered vocals, Pop; the bouncy Motown-esque "Faster", "Cold war" (on which she sounds like Beyoncé, but without the over-reaching she is prone to), and retro Soul; "Locked inside", the Stevie Wonder-esque "Oh, Maker", the lush Lauryn Hill-esque "Neon valley street" with a lovely guitar solo, while "Neon gumbo" is the sound of a song playing backwards.

"Dance or die" features Saul Williams and a spitfire delivery from Monáe, groovy baseline, and an Afro beat feel. Lead-off single "Tightrope" is retro Funk featuring Outkast's Big Boi and "the funkiest horn section in Metropolis", sounding like something from Outkast's "Idlewild" album (on which she appeared). Punk Rock group Of Montreal feature on the quirky alt Pop "Make the bus", "Wondaland" is midtempo and incredibly catchy, while the dreamy acoustic ballad "57821" features Deep Cotton and sounds folky and hymnal, like The Fleet Foxes.

The woozy "Sir Greendown"is an enchanting ballad, the breezy ballad "Say you'll go" reminds me of Stevie Wonder's "Rocket love" in places, while closing is the lush Jazzy "BaBooByeYa" which meanders through different movements, a mini opera sounding like something Shirley Bassey would do.

Monáe is supremely talented and she has created a theatrical masterpiece here, sounding at times like a musical. As this is the second in a three part series (the first part "Metropolis: The chase suite" was nominated for a Grammy for the bouncy "Many moons"), it would be interesting to see where this leads. Highly recommended!

This release is hot, pure and simple. It puts me in the mind of hearing Marvin Gaye's "What's Going On" album the first time when I was a freshman in college. The songs truly felt like a suite and flowed smack into each other (Erykah Badu's "Mama's Gun" and Jill Scott's live album are the few in recent memory that hit me like this). The arrangements in Archandroid are like an audible collision between Stevie Wonder, James Bond, a tinge of Earth Wind and Fire and Quincy Jones circa Michael Jackson "Off the Wall," approaching Curtis Mayfield, and some Bjork (yes, you are America's answer to the majestic Bjork, Swing Out Sister and Janet Jackson). Add in a little otherworldly that puts you in the mood of a movie soundtrack and we're about there.Yes, I danced in the mirror of my apartment to "Tightrope," - they try to take your dreams/but you can't a allow it...whether you're high or low/you got to tip on the tightrope...this ain't no acrobatics/you either follow or you lead...you gotta keep your balance or you fall into the gap - her first release and hardly got the James Brown footwork Janelle and her crew does so wonderfully in her video. My cat was entertained at my even trying.

What you want to really listen to is Suite II Overture, cut 1, and cut 4, Locked Inside (which has the drumming transition you hear at the beginning of MJ's "Rock with You". There are few things being dropped these days that surprise. Archandroid is among them. After the Overture, dig into "Dance or Die," which again puts me in the mind of the Jackson family, namely Janet, as this song sounds eerily similar to "I Bet You Think This Song is About You." Janelle's power is in her daring to take risks. When I told my husband that Sean "Piddy" Combs was an executive producer on this CD, I heard, "I'm glad to see that he's trying something adventurous". That was the hubby being nice. Now I'm not mad at Combs, but I believe he did something grand in letting Janelle do her thing as she lets us know up front in her acknowledgements: "To my Bad Boy/Atlantic Family...Thank you Sean Combs. Thank you for helping us soar & letting me be the boss; It is because of your strong belief in our ideas as The Wondaland Arts Society we are able to fly higher.")

One confession: my interest in this release goes beyond the music. Janelle's concentration on aliens and sci-fi and most especially, the 1927 Frantz Lang film "Metropolis" (as seen in her debut CD two years ago) was enough to make me take note. I also like this film. And not that African Americans can't get down with all things German and fictitiously science, but it was cool seeing someone else seeing the splendor and magic in this Lang film. Beyond that, there are some moments on this CD that didn't entirely impress me and that would be the sing-song beginning to "Oh Maker". I could almost see Janelle dropping her pompadour and tuxedo or sci-fi fetish for a straw hat, a banjo and some overalls to sing this song that spins out into the funky, true. And not too soon for me, but that's allowed. Janelle, this is your work. I love it. And I hope others do, too. And that's because Janelle, you're all over the place and yet in one very steady place, which is you.

Commencing the final note: anyone reading this with the album in hand/ear, go straight to Suite III Overture, cut 12** (all of 1:41 seconds in length) and Neon Valley Street, cut 13 (3:58 if you're keeping count). Whatever you praying to, Neon Valley Street is the soundtrack. I couldn't tell if this was a gospel tune or if she was for a minute truly being Top 40 romantic (let's pretend I'm holding your hand) or whether this was an ode to the listener (...May the song reach your heart/May the song journey on...running fast in time like Tubman...it's just a pity the song is a danger zone...don't get caught).

I told my husband that according to the notes on this album, Janelle is from the year 2719. She's from another time, I said. The hub replied, "Yeah, like Sun Ra." I said, "Yes, but she's more accessible." (Google NPR interview).

And now for the Archandroid Awards:

1) Most Appreciated Arrangements:

About 1:59 into cut 15, "Wondaland" (another nod to love)

2) Lyrics, Most Surprising:
Early in the morning he searched for her/until his feet grew bloody and tired

3) Should Get Regular Airplay for the Masses Award:

"Say You'll Go," cut 17 (one lyric: Write our name on each other's heart/Love is not a fantasy.) These lyrics and the doo-doo-do, which again, put me in the mind of Stevie and war-time radio. This tune is also for anyone thinking of the DOW, Greece, the BP spill in the Gulf, December 21, 2012, and all things scary and redundant (The world could end outside our window, she sings). The choral arrangement and piano and strings at the end are not to be forgotten.


The truly final note: Cut 18, "Babopbyeya" is it. Eight minutes and forty six seconds long. The title is an inspired scat a la Ella. The lyrics are amazing. (Where are you, my darling?/ Babopyeyah /can you hear me calling/give us the eyes to guide us the most when have no light to see through our darkest days and troubled ways...Meet me at the door by the garden...I hear echoes of your laughter in the corners of my mind...I must go.) And Miss Janelle, is that Spanish or Portuguese you poured up in here? Girl, you are damaging for the ordinary. You are waking them up.

If you consider yourself a fan of music, buy this album. If you are losing hope in the world outside your window -- feeling insane as if you are the only individual left under the sun -- buy this album. This album speaks volumes musically, lyrically, instrumentally and spiritually. Monae pleads us to join her in a state of Nirvana on "Say You'll Go", but the thing is the listener already finds themselves there as soon as the album begins. When is the last time you honestly heard an album that sounds more cinematic than the majority of movies currently in theaters? Janelle Monae is an artist. By buying this, you are not only supporting an artist, you are supporting a movement. Great music exists -- so let's make it popular. Start a revolution, because this is a Cold War and hardly anyone knows just what exactly they should be fighting for. There is a subtle oppression -- there is a lack of free thought and individuality. Love is not a fantasy and Janelle Monae conveys this with all her heart. Please, please please support the progression of culture and buy this album.

Ok, I'll come out and say it: Anyone giving this album a mediocre or poor review probably doesn't know what the heck he or she is talking about.

I rarely say something like that, but at the same time, there is almost never such an eclectic, sophisticated, surprising, genre-bending album ever to be marketed and released as a "mainstream" album. This is the kind of incredibly brilliant music that almost never finds its way into the mainstream. This woman is light years ahead of any "mainstream" pop/r&b/soul artist working today. So I have to say it like I did to open this review -- a whole lot of listeners that have never listened to much beyond the top 40 of their particular musical style are probably going to listen to this once or twice and then let it gather dust. It's THAT challenging to listeners who simply don't go for anything beyond radio-friendly music.

And no matter the genre, this album's taken a piece of it, turned it on its head, inside out and then spit out something magical, wonderful and brand new.

What's the iPad's tagline? Magical and Revolutionary? Well I've got news for Steve Jobs. THIS album is magical and revolutionary.

This phenomenon of a singer and songwriter sounds like Prince, Michael Jackson, Shirley Bassey and Stevie Wonder all rolled into one, but was clearly -- obviously -- undoubtedly -- raised on a completely different Planet Of Wonderful. Clearly she's not from Earth.

This woman has style and substance -- a voice that in my opinion runs circles around the supposed divas of the past two decades (Mariah, Whitney, Celine, Mary J, etc.). Her voice is like a never-before-seen color of the rainbow.

Janelle Monae oozes STYLE, and CLASS. The songwriting, heck I'll call it songBENDING, is -- creatively -- head and shoulders above just about everything that's been released in the past decade. THIS is how I expected music of the new millennium would sound. It's finally arrived.

On top of all that, she incorporates Debussy's Clair de Lune as a coda to Say You'll Go. It's not the first time I've heard an artist do something like that, but I don't think I've heard it done so well, so organically, so seamlessly, so beautifully.

Whew. Okay, I'm gushing. It's just that I rarely listen to anything so gush-worthy.

Buy it, buy it, buy it.

How else can you explain how this sharp diamond made it out to the masses? The music industry does not let this type of music run wild anymore. The masses might start setting their expectations high.

Ms. Monnae's "The ArchAndroid" may be one of the few cases where the sophomore release is better than the original debut. Her "Metropolis: The Chase Suite" was pretty solid. But this one "The ArchAndroid", I mean I had to write a review after I heard the CD today. "Metropolis: The Chase Suite" was fairly ambitious, especially for a new artist. But this one, "The ArchAndroid", my goodness.

Sonically, "The ArchAndroid" is the best I have heard since Charles Stepney's arrangements for Rotary Connection and Minnie Riperton. The producers put a ridiculous amount of work into adding layers and textures and dimensions and moods and pigments. It is hard to describe, classical, rock, punk, R&B, folk, hip-hop, house music, world beat, etc. No 2 songs sound alike. The music just does not sit still. There are bridges TO bridges. And actual solos and improvisation! Now some may complain that they have heard this before. Well, it is obvious that some songs were influenced by 60s and 70s soul, R&B and rock. There is a huge of infusion of 80s American/UK pop and punk. As for Hip-Hop, you can hear the OutKast/Dungeon Family formula show up as well. Although I think Ms. Monnae is a much better singer, she reminds me of Bjork in the sense that her songs are very inventive and really make you think about where the inspiration came from, for example on Bjork's Telegram.

All that means is that this music did not come from a vacuum. It was born from the many great artists who made our private music collections Love Affairs. Based on previous comments by Ms. Monnae's, specifically the references to Wondaland, I would guess the CD is the product of a large collective of artists, the depth and range is just breathtaking. And Ms. Monnae is a real SINGER with a strong voice! I would be surprised if she used any Autotune.

I am so glad I bought this CD in support of real music. I would put it in the same category as Bjork's "Homogenic" and Radiohead's "In Rainbows". Releases that make you think about why we don't get music like that ALL THE TIME.

Grab it while you can. That music executive might wake up again.

This album is a sure sign of the apocalypse because "Sean Puffy Combs" is one of the producers. Yea even that hack can recognize musical talent when it's staring him in the face.

Listen to the album and the first thing you think is what did I just listen to? You'll listen a second time and think I like it but something's not right so you'll listen again and you'll start to notice that this young lady has weaved a tapestry of sound into this album that few artist do these days. You'll hear strings, horns, wind chimes, guitars, beat machines, turntables scratching there's not much she doesn't use. She could have called this album "the kitchens sink" because of everything she put into it and surprisingly enough 90% of it works. Don't get me wrong she goes a little too far out into left field on a couple of songs, BaBopBye Ya comes to mind but Ms Jonella takes a lot of chances on this album and it's amazing that the album is as cohesive as it is.
Other reviewers keep calling this Pop, this is not pop, it's not R&B it's simply music. When truly great artist produce great work everyone should be able to appreciate it as music. I'm not a country music fan, in fact I hate it but man could "Johnny Cash" create good music. I'm not a huge fan of Rock but Metallica's master of puppets album was incredible as was Prince's "sign of the times"

Don't get me wrong this album is not on the level of the artist previously mentioned but I can say I don't remember them creating a first album this good. Let's hope this is the sign of things to come.

Buy this. See her live. Then see her live again.

I saw her Joe's Pub shows in April in NYC. Seeing these songs performed live was a completely completely different experience than hearing them recorded.

Dance or Die had such an urgency to her frantic rapping - while surrounded by hooded capes.

Wondaland was a party I want to go back to - complete with silly string, swords, woo hoo-ing, dancing on tables and lots and lots of sweat.

See this woman live. Let this disc be your invitation. Watch her resurrect James Brown, Sun Ra, Debussy, Disney and anything else that possesses her on any given night.

I am thankful we still have performers like this.

This album is absolutley amazing- hands down. This girl eats, breathes, and lives creativity. The composition of the album along with the delivery and lyrics is something to be marveled. The album is almost like an intriguing book or movie. Each song flows smoothly into the next yet each song is strikingly different. Monae tinkers with every genre imaginable: pop, hip-hop, r&b, jazz, alternative, funk, soul, rock,classical.... this album is all of that and more. I also like the fact that in her album insert, she includes a brief story that provides the back drop from whence the album came. She notes where the motivation/inspiration behind each song derives. It's hard to pick my favorite songs but if I had to it would be "Mushrooms and Roses", "Dance or Die", and "Neon Valley Street". Buy this album. Do not bootleg or pick and choose which tracks you want to download. I must say, there are a couple of songs that I don't particularly care for but I still listen to them because musically and creatively those songs fit with the story line. This album is a story. Please support this girl and buy the album. She has renewed my belief that creative, consicous, intellectual artist exist. Get the album. You won't regret it!

The first time that I saw Janelle Monáe was on the great video for Outkast's 2006 song "Morris Brown," which is featured on the Idlewild soundtrack. In the video, she sings along to Scar's very nice voice: "My heart is like a marching band/ I'm a fan in the stands/ Yes I am/ and I'm hollering hey baby /saying hey baby." I was immediately drawn to her and I had not heard a word from her yet. I have always been a fan of Outkast, The Dungeon Family, and their affiliates (e.g. Organized Noise, Goodie Mob, etc..), so when they gently ask me to pay attention to an artist, I do.

Before the release of the "Morris Brown" video, Monáe had two solo tracks on Big Boi's 2005 compilation album Big Boi Presents...Got Purp?, Vol. 2: "Time Will Reveal" and "Lettin' Go." On the Idlewild soundtrack, she was featured on two tracks: "Call the Law" and "In Your Dreams." All four of the songs that I have mentioned are certainly respectable tracks, I even really like "Lettin' Go," but I always felt that there would be something "more." I prayed that she would not be tragically overlooked like The Dungeon Family's Slimm Calhoun's great 2001 debut The Skinny. Enter Metropolis Suite I of IV: The Chase.

I bought Metropolis Suite I of IV: The Chase (EP) very quickly; directly from Janelle Monáe's website. So fast that my version does not include the two songs "Mr. President" and "Smile." This is how taken with her I was. When I first heard "Violet Stars Happy Hunting," I knew that this was the "more" that I alluded to earlier. While the media began, annoyingly, trying to find someone she sounded like (Andre 3000 was the ubiquitous reference at the time), I was more interested in what she was trying to do, herself, outside of the trappings of musical genealogies. With "Sincerely, Jane," I not only knew that she was doing something very different from those she was being compared to, but also this was the song I was trying to get everyone I knew to listen to. At the time, which was 2007, I was crazy about Armand Van Helden's "I Want Your Soul," Gnarles Barkley's "Storm Coming," Klaxon's "Golden Skans," Lizz Wright's "Trouble," and Lauryn Hill's much maligned "Lose Myself." When Monáe arrived, I was really good! And here she is again.

I am currently on my fourth spin of The ArchAndroid and the only word that I keep going back to to describe the album is "brilliant." Music, for me, has always been very much based upon mood. As I love this album in its entirety (and I really appreciate the fact that I feel like I have to listen to this album in its entirety everytime in order to garner its fullest offerings), I certainly have favorites. They are "Sir Greendown," "Oh Maker," "Neon Valley Street," "Say You'll Go," and "BabopbyeYa," and both "Suites" are stunning! I kept "57821" out of this list because I wanted to say something in particular about it.

Because the CD does not come with lyrics, I scoured the internet last night for the lyrics to "57821." Didn't find them. So I tried to listen carefully. The main vocals are quite clear but it's those beautiful choruses that I need clarification on. The first chorus centers on Anthony Greendown ("Sir Greendown") and Cindi Mayweather. Monáe and Deep Cotton emphasize the word "both" in the first chorus and then they emphasize the word "us" in the second chorus. As I am not quite sure what the first chorus says and because of that, I will only share with you the second chorus as I hear it:

"Cause you're the one/
One by one/
It's your time/
Lead us all back to one/
The sun has come/
May your light lead us all back to one/
Indivisible sum/
Here's the book now the saga's begun/
You're the one."

For me, this song is at once the ultimate love song as well as a call for a universality that does not demand that we flatten our differences in order to articulate a common emotion. The movement from "both" to "us" in these lyrics speaks to the power of the universal that is housed in the particular. Many will have us believe that this album is so far on the margins that it cannot possibly be accessible. "57821" centers this album for me; it is The ArchAndroid's thesis--one that does not come at the end of the first paragraph of the classic essay that we are used to. This is my favorite song from her thus far. Gorgeous song.

The songs that I did not mention are also terrific like "Dance or Die," "Faster," Cold War," "Tightrope," and that yell on "Come Alive (The War of the Roses)" is dope!

It is quite ambitious of her to begin her career exploring concept albums, as they are very difficult to pull off. They either end brilliant or disastrous--she easily lands on the former side with both attempts. I am happy that I can now place Monáe's albums next to Tori Amos' impeccable concept album Scarlet's Walk.

I encourage everyone to support this wonderful piece. If anyone needs their current unwanted musical palate cleansed, this is the album. For those who have lost faith in popular music, this is it. If you need inspiration like I did (do), this is it.

Cindi Mayweather asks at the end of "57821": "I wonder if I'm the one?"
The chorus answers: "You're the one."

The ArchAndroid is the one.