Janelle Monáe
The Electric Lady

Eclectic, schizophrenic, chameleon-like, and damn talented, three years after the dazzling debut, Janelle Monáe finally returns to take the crowded stage of 2013 with class and enviable elegance, something not everyone can boast, especially not those whose previous work was able to surprise both critics and the public; because, let's face it, the second album is almost always a sort of litmus test for an artist, and this test can prove to be incredibly complicated, especially when you have to carry the heavy legacy of an album like "The Archandroid". It's quite an undertaking, especially when the audience that follows you is always on the alert, ready to denigrate even the slightest misstep you might take. Any concern, however, vanishes during the listening of "The Electric Lady", because the sequel (or rather, prequel) to the adventures of android Cindi Mayweather does not disappoint expectations, proving to be more than a worthy successor to its predecessor.

As in "The Archandroid", in this second studio effort, the young American singer-songwriter transports us to her retro-science-fiction universe populated by humans and robots, presented quite effectively through snippets taken from a fictitious radio show, that is, the various interludes, three in total, placed at specific points in the album. Musically speaking, this dystopian world translates into two musical suites (the fourth and fifth in the story of Cindi Mayweather set in Metropolis) within which a plethora of musical genres alternate seamlessly, genres which Janelle demonstrates she knows how to interpret and master impeccably: whether it be rock, funk, pop-punk, jazz, lounge, R&B, or simply pop, she confirms herself as a refined and versatile performer, also thanks to her chameleon-like and beautiful voice, capable of turning even the most blatantly chart-climbing episodes into small gems, such as the ballad "Prime Time" and the sparkling "Dance Apocalyptic", probably the catchiest and most "traditional" (if you'll pardon the term) tracks of the whole bunch. Everything is then enriched by a very cinematic Afro-futuristic atmosphere and, above all, by the well-chosen guest stars called to the appeal: two greats like Prince and Erykah Badu (on the tracks "Givin' Em What they Love" and the single "Q.U.E.E.N.", whose beautiful video I recommend watching) could only give rise to classy tracks, just like Esperanza Spalding on "Dorothy Dandrige Eyes" and Solange Knowles on the title track "Electric Lady"; finally, the more commercial but talented Miguel proves to be a pleasant discovery, endowed with a warm and velvety voice that fits perfectly on a piece like the aforementioned "Prime Time".

In short, what we have on our hands is a remarkable album, a worthy successor to "The Archandroid" and a candidate for the title of neo-soul milestone. If one must find a flaw, it could be said that some of the freshness that in the previous work oozed from every single note and the epic quality of tracks like "Come Alive (The War of the Roses)" and "Mushrooms & Roses" are missing, but this is compensated for by a less dispersive approach in terms of sound due to a greater leaning towards funk and jazz sounds, so in the end there is really little to complain about. In a few words: album passes with flying colors, and is practically a must-listen for genre enthusiasts and beyond.