Album Review: Janelle Monáe - The Electric Lady

Her 2010 debut, The ArchAndroid, was one of the most elaborate R&B albums ever released and from the sweeping spaghetti western opening of Suite IV Electric Overture, it's clear Janelle Monáe hasn't toned down her ambition. The ensuing 67 minutes of The Electric Lady are packed with disparate ideas, all revolving in one way or another around psychedelic R&B, but nothing seems out of place. Monáe has friends in high places; Prince, Erykah Badu, Miguel and Solange Knowles add plenty to their songs, but they don't come close to stealing her spotlight.

The Electric Lady makes up parts four and five of Monáe's seven-part Metropolis suite, a lofty Afro-futurist concept expounding – among other things – the notions of love and sexuality among androids. Yep… But if you want to drag it down to its basic musical elements, the record still works. Rump shakers like Q.U.E.E.N. and Dance Apocalyptic are jubilant cuts of funk, Primetime is a devastatingly smooth slow-jam, the searing lead guitar on We Were Rock & Roll seems to cut the air and the groove of Ghetto Woman is simply watertight.

The Electric Lady is, again, staggering artistry from one of the true geniuses in modern music. Monáe could be the most important R&B artist in decades; unfortunately her colossal musical ambition might just be too great for mainstream audiences to ever truly understand. Whether it's a chart topper or not, The Electric Lady will go down as another classic for those willing to take a trip with her.