This album starts out with “Dirty Computer”, which is a really awesome intro actually. Janelle’s performance is commendable as you would figure, as she brings in plenty of the many topics this album touches down on before it’s over. It’s sleek, funky, but also has a wonderful atmosphere. Which, you know, is only enhanced by this wonderful surprise guest spot by Brian Wilson. It’s a short intro, but it really ushers in the sounds of this album nicely, and even though Janelle has really focused her sound towards Funk, she’s nailing it. Now, “Crazy, Classic, Life” at the very least seems to be the wildly creative and experimental style we left Janelle with years ago. I love how much this one soars and just how much of an anthem this is. It’s an ode to living life to it’s fullest and loving every minute of it. It’s got elements of Funk, but it also shows Janelle embracing some Pop elements as well. Match all of that with the very triumphant and explosive instrumental that’s just as fun as some of these bars, and we have a pretty awesome track this early in the album. Not to mention, Janelle has been really honing her rap skills. She’s never really touched down on them very hard, but let’s be real, she’s got some serious swagger. Then we have “Take a Byte”, and so far I’ve been digging the very u[lifting feel of these atmospheres, which is something Janelle has always done so well with. I mean, even though “The ArchAndroid” was very dystopian, it was FUN. Now, this track is a little more funk heavy, but also a little more subdued as far as Janelle’s performance goes. It’s got some solid grooves and all, but I can’t help but feel just a little let down with this one. Not to mention, almost every other tune here has Janelle sounding so much more focused than she does here. It is a little cluttered, but Janelle, for the most part, keeps her cools with just how commanding of a performer she is. “Take a Byte” is funky and sleek, I just wish there was a little more cohesive narrative. Then we have “Jane’s Dream”, which is fine for a 19-second interlude. But Janelle has done so much more than this with her interludes in the past. On the other hand, “Screwed” featuring Zoë Kravitz is the explosive and funky track that I’ve been dying to hear Janelle break out into. While Janelle’s world she portrays in her music is often futuristic and surreal, you have to take note of just how current these tracks are. This one is easily one of the catchiest tracks here. I’ve said it before, and I’ll say it again, there’s a LOT of this album that shows Janelle reaching towards a Pop sound that she’s never even come close to. Not to mention, Zoë Kravitz’s performance is really commendable. And while it has a really strong political edge to it that I would usually just be sick of hearing by now, it’s done very well. “Screwed” is a blast.
Now, “Django Jane” is the closest thing to a Rap tune you’re going to hear from Janelle. And for the most part, she really nails it. It’s aggressive in all of the right ways. Meaning, so much anger in current rap just sort of goes nowhere and isn’t always supported. But Janelle’s fiery verses on “Django Jane” are current and certainly need to be heard. Now, personally, I’m not really as into the beat here, and this could have been so much more interesting. But the production is solid, and Janelle’s charismatic verses are so likable. Now, as far as a single goes, I honestly think “PYNK” featuring Grimes may be the best here. It’s hypnotic, it immediately sticks with you. And while it’s so simple, it just fits with the themes of this album so much. Not to mention, I love the more Electronic elements here, it actually ends up taking the Funk to the next level. And that chorus is just so simple, but it sticks with you so much. Now, I’m not entirely sure what Grimes did on this track, because I can’t pinpoint her feature. But there are certainly elements to her music here, so I don’t doubt her presence one bit. Then we have “Make Me Feel” which is some straight up Prince worship, which we all knew we were going to get at some point. And that’s just fine, because if anyone can pull this off it’s Janelle. She even has that sort of shy, yet sexual personality Prince nailed so well years ago. While I still haven’t heard the massive clashing of genres that used to sort of drive Janelle’s albums, tracks like “Make Me Feel” are incredibly likable. For a seriously sultry Funk jam, I can’t think of many ways this track could have gone better. But then we have “I Got The Juice” featuring Pharrell Williams. Now, I’m sorry, but this track to me sticks out like a sore thumb. I like the booming beat here and there are certainly some elements that refuse to escape me. But I can’t shake but feel that Janelle is just taking a few steps back with this one. It’s catchy and has plenty of grooves, and it is fun. But it could have been done a different way. Now, I do enjoy the very dreamy and hazy production of “I Like That”, as well as the sort of vintage tone we have all of a sudden. Like, there is a TON of this album that’s got some steamy moments, but Janelle carries herself wonderfully through it all. Now, like I said, there is a little old school flair to this. But Janelle’s vocal performance here is easily one of her most mind-blowing and breathtaking here. It’s just such a commanding performance. And she really has this incredible element of “cool” to her style. Not to mention, her more personal approach to this one works really nicely as well.
On the other hand, “Don’t Judge Me” is a bluesy and stripped down performance the likes of I’ve never really heard from Janelle. There are elements to this the I really like, like just how genuinely sexy this comes off once again, and the very bluesy instrumental. Not to mention, Janelle’s performance once again is outstanding. But this track is by far the longest track here, and I’m not sure it’s entirely justified. Not to mention, with this much slower tune from Janelle it is radically different to her usually much shorter, explosive moments. There’s nothing wrong with “Don’t Judge Me”, but it’s not where I like to hear Janelle per say. Then we have “Stevie’s Dream”, which I honestly have nothing really bad to say about. This is the sort of message that anyone can get to and appreciate, and it’s refreshing to hear. But did it need its own track? That’s debatable. Now, I’m not really sure why, but I’m sort of sick of hearing Janelle with some of the more low-key performances that make up the last few tracks. “So Afraid” is certainly explosive in a way, lyrically that is. And instrumentally this has some awesome moments. And obviously, this is a very personal track which is commendable. And even if you don’t absolutely love this album you should absolutely give it a listen still because it is very current. However, Janelle does win me over by the end of the track though with some pretty wild instrumentals and incredibly passionate vocals. But at this point in the album, I just wish Janelle was more direct with us. Just like she is with the very ear-grabbing “Americans” as a finale. There’s some incredible vocals here and some heavy synths. And when this picks up it becomes one of the funkiest and most Prince-Oriented tracks yet. Honestly, this is a pretty amazing finale. It’s the sort of clash of styles I’ve been dying to hear, I honestly wish we got more of THIS.
Now, “Django Jane” is the closest thing to a Rap tune you’re going to hear from Janelle. And for the most part, she really nails it. It’s aggressive in all of the right ways. Meaning, so much anger in current rap just sort of goes nowhere and isn’t always supported. But Janelle’s fiery verses on “Django Jane” are current and certainly need to be heard. Now, personally, I’m not really as into the beat here, and this could have been so much more interesting. But the production is solid, and Janelle’s charismatic verses are so likable. Now, as far as a single goes, I honestly think “PYNK” featuring Grimes may be the best here. It’s hypnotic, it immediately sticks with you. And while it’s so simple, it just fits with the themes of this album so much. Not to mention, I love the more Electronic elements here, it actually ends up taking the Funk to the next level. And that chorus is just so simple, but it sticks with you so much. Now, I’m not entirely sure what Grimes did on this track, because I can’t pinpoint her feature. But there are certainly elements to her music here, so I don’t doubt her presence one bit. Then we have “Make Me Feel” which is some straight up Prince worship, which we all knew we were going to get at some point. And that’s just fine, because if anyone can pull this off it’s Janelle. She even has that sort of shy, yet sexual personality Prince nailed so well years ago. While I still haven’t heard the massive clashing of genres that used to sort of drive Janelle’s albums, tracks like “Make Me Feel” are incredibly likable. For a seriously sultry Funk jam, I can’t think of many ways this track could have gone better. But then we have “I Got The Juice” featuring Pharrell Williams. Now, I’m sorry, but this track to me sticks out like a sore thumb. I like the booming beat here and there are certainly some elements that refuse to escape me. But I can’t shake but feel that Janelle is just taking a few steps back with this one. It’s catchy and has plenty of grooves, and it is fun. But it could have been done a different way. Now, I do enjoy the very dreamy and hazy production of “I Like That”, as well as the sort of vintage tone we have all of a sudden. Like, there is a TON of this album that’s got some steamy moments, but Janelle carries herself wonderfully through it all. Now, like I said, there is a little old school flair to this. But Janelle’s vocal performance here is easily one of her most mind-blowing and breathtaking here. It’s just such a commanding performance. And she really has this incredible element of “cool” to her style. Not to mention, her more personal approach to this one works really nicely as well.
On the other hand, “Don’t Judge Me” is a bluesy and stripped down performance the likes of I’ve never really heard from Janelle. There are elements to this the I really like, like just how genuinely sexy this comes off once again, and the very bluesy instrumental. Not to mention, Janelle’s performance once again is outstanding. But this track is by far the longest track here, and I’m not sure it’s entirely justified. Not to mention, with this much slower tune from Janelle it is radically different to her usually much shorter, explosive moments. There’s nothing wrong with “Don’t Judge Me”, but it’s not where I like to hear Janelle per say. Then we have “Stevie’s Dream”, which I honestly have nothing really bad to say about. This is the sort of message that anyone can get to and appreciate, and it’s refreshing to hear. But did it need its own track? That’s debatable. Now, I’m not really sure why, but I’m sort of sick of hearing Janelle with some of the more low-key performances that make up the last few tracks. “So Afraid” is certainly explosive in a way, lyrically that is. And instrumentally this has some awesome moments. And obviously, this is a very personal track which is commendable. And even if you don’t absolutely love this album you should absolutely give it a listen still because it is very current. However, Janelle does win me over by the end of the track though with some pretty wild instrumentals and incredibly passionate vocals. But at this point in the album, I just wish Janelle was more direct with us. Just like she is with the very ear-grabbing “Americans” as a finale. There’s some incredible vocals here and some heavy synths. And when this picks up it becomes one of the funkiest and most Prince-Oriented tracks yet. Honestly, this is a pretty amazing finale. It’s the sort of clash of styles I’ve been dying to hear, I honestly wish we got more of THIS.
Rating: 7.9/10
Give A Listen To: “Crazy, Classic, Life”, “Americans”, “PYNK”, “Make Me Feel”
Genre: Funk / Neo-Soul / Hip-Hop / Pop
Overall Thoughts: Janelle Monáe has returned to her most instantly digestible and easy to comprehend album to date. While she's spent years fusing Funk, Neo-Soul, R&B and dozens of more genres and blending them into wild and creative albums, this time around she's honed her style to one word. And that word is Funk. Sure, Janelle drops some surprisingly solid Rap bars and may be pushing further into the Pop world more than ever, but this album is a Funk album by the books at the end of the day. Prince fans will instantly grab on to these sleek instrumentals, and I would swear that Janelle's vocals are better than ever. The only real reason this album didn't resonate even more with me, is just how much I miss the more creative and wild days of Janelle's past. Sure, the tracks here are current and discuss topics that need to be touched down, and Janelle brings them up in a respectful, not preachy way. But this doesn't excite me nearly as much as albums like "The ArchAndroid". Still, though, Janelle Monáe remains one of Neo-Soul's most electrifying performers.
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