s/s/s - "Beyond a Doubt"

Every time I post hip-hop on my blog, I usually go on a rant about how I don't normally post that on here - I'll spare you that this time. When I originally heard about s/s/s (the Sufjan Stevens, Serengeti, Son Lux collaboration), I had mixed feelings. The only major draw for me was Son Lux's participation due to his work as a ballet composer and his masterful album We Are Rising. Sufjan Stevens has more or less lost his way and as hip hop is not my normal forte, I wasn't particular familiar with Serengeti besides hearing his name thrown around.

When I heard the first cut from the Beak & Claw EP, "Museum Day", I wanted to despise the project. Sufjan Stevens using autotune is one of the most unnecessary things considering he's a pretty spectacular singer and Son Lux's participation was reduced to behind the scenes stuff (he cut and stitched together the track) and backing vocals but there was some potential in "Museum Day" which is what made me return to Beak & Claw when the stream went up today.

"Beyond a Doubt" is by far the absolute strongest track on Beak & Claw, it's essentially what makes the whole project worth it. There's two composers/arrangers at play here which helps make an absolutely hooking intro so that when Serengeti enters with his more-or-less rapid-fire lyrics, you actually want to catch every word he's spitting out. You're not waiting for the next thing to happen, you're hanging on his every word to see where he goes with it. And then Stevens and Son Lux enter for the chorus quietly harmonizing alongside a melodic synth. The track pretty much stays consistently the same from there but wow. It's as catchy as it needs to be, as long as it can be without seemingly overly repetitive, and features each members respective talents pretty well. Son Lux is more or less a background player once again but considering the outcome, you don't mind it that much. It's an absolutely dynamite track.

Pitstop: Azealia Banks

For me, writing about anything vaguely resembling hip-hop is as common as a Haley's Comet sighting but every once in awhile I hear something so undeniably good that I feel like I have to spread it despite my normal hip hop ambivalence. May I present Miss Azealia Banks.

Azealia Banks might very be the most unlikely of hip-hop sirens - a musical theatre actress, it took a bout of depression and a metaphorical trip to rock bottom to push her into rapping and singing and now she does it with an almost overwhelming intensity. When I first heard her song "212", it wasn't until the middle eight when I was really hooked; when you really got a load of her impressive pipes. And yet that's a staple of R&B: girls with impressive vocal chops. What sets Azealia Banks apart from the scores of young ladies making their rounds in the more mainstream circles? Well, Banks' songs are deeply rooted in reality. There's no hyping oneself up that's common in rap songs - talking about how great you are or how rich or hard you are. No, Azealia Banks tackles some more realistic topics - namely sex. Like the "212"'s rapid-fire delivery of the most non-PG materials you might ever encounter. It could be shocking, if it wasn't so charming. She's been compared to Nicki Minaj, mostly due to her affinity to both rap and sing, but really Banks' mouth is much more reminiscent of female rappers like Lil Kim and Foxy Brown. But as much as you try to compare Banks she's undoubtedly unique not solely defined by her foul mouth lyrics or her sparse beats but with an impossibly affable charm. Surprisingly considering her strong-willed nature is at the forefront of her lyrics which occasionally come off more as demands, threats, and provocations. And yet that's what keeps me coming back for me - despite an intimidating amount of presence for a 20 year old, her songs are fun in addition to being good.

Her follow ups to "212" show that Banks' discovery is no fluke, she's ready to keep putting out great tracks that leave you wanting more. And with Banks currently in London readying her debut record, it certainly won't be long. Especially if your lucky enough to be European - she's got a slew of tour dates lined up. So until the debut drops, I'm just going to keep repeating tracks like "Liquorice" and "NeedSumLuv" until my ears fall off.

   NEEDSUMLUV (SXLND) by Azealia Banks

 212 ft. Lazy Jay by Azealia Banks 

 LIQUORICE by Azealia Banks

(via Listen Before You Buy)

Janelle Monae releases video for "Cold War"

Janelle Monae's video for "Cold War" is unlike a lot of music videos. Its simple, direct, yet heartfelt and poignant. Instead of highly developed storylines, plots, characters, and high production costs, the video features Janelle Monae in front of a camera, her face always visible, as she sings to you, standing naked and laying her soul bare for all to see. Instead of the flashy, quirky performances she's know for you see a softer, more real side of her as she tears up while singing but still maintains powerful soul-gripping eye contact. Enjoy Janelle Monae's "Cold War"

Janelle Monae - The ArchAndroid (2010)

Janelle Monae's debut full-length album The ArchAndroid continues the adventures of the android Cindi Mayweather from The Chase EP. I read in an interview that the album, which actually consists of parts II and III of her four part Metropolis epic, needs to be listened to all the way through in order to get the full effect and while several artists often say this but have songs that can stand alone, Monae's words ring true. A sort of hip-hop symphony (or suites, as she actually calls them) begins with the "Suite II Overture" which starts with a tuning orchesta and string intro that sets the tone for the rest of the album and transports you to Monae's futuristic world filled with mystery and intrigue. "Dance or Die" is the album's first movement, setting up Metropolis as a world plagued by violence and fear while foreshadowing Cindi's role in inspiring some sort of change. The track leads directly into "Faster" keeping the same energy and even remaining in the same key and tempo. In it, Cindi realizes her love for the human Anthony Greendown and how it goes against Metropolis law. The funky "Locked Inside" has Cindi pleading her human lover to stay with her despite the risks of their love being discovered and questioning the rules that govern the citizens of Metropolis. "Sir Greendown" is a slow balladic track in the 60s doo-wop style delivered like an intimate love letter setting up a secret rendezvous. "Cold War" and "Tightrope" kind of work together as in "Cold War", Cindi resolves to fight against the system, keeping herself alone so as to protect herself and others and "Tightrope" with its references to balance reflects the revolutionary Cindi Mayweather efforts to remain grounded and features Monae's mentor Big Boi and the Dap Kings on brass. "Neon Gumbo" is a short avant garde interlude in a similar vein to experimental electronica which manages to enchant with its lack of real words much like the made up languages of Sigur Ros or Yoko Kanno composed of reversal samples from Suite I's "Many Moons". "Oh, Maker" is another slow track sung both to Cindi's human lover and her Maker, the God-like figure for androids in Metropolis, in it Cindi questions if the Maker forsaw her dilemna and programmed her that way. It is both melancholic in its description of a failed relationship (which can be gathered through Monae's use of past tense) but also uplifting in that Cindi is truly grateful for the love she shared that inspired her to rebel. "Come Alive" (The War of the Roses) is Janelle's biggest genre-bending masterpiece, shredding rock guitar lines, bluesy bass riffs, punky scream vocals, all combined into a song that works well in so many ways. The track itself describes Cindi's response to oppression: to cultivate your plans in your mind before performing any actual action to truly be prepared to go up against it. It may also detail Cindi Mayweather's stay in Metropolis sanitarium The Palace of the Dogs with its numerous references to schizophrenia, meds, and the mind. "Mushrooms and Roses" is the end of Suite II and is another delve into experimentation, this time on Monae's voice, and a 70s rock sound not unlike Hendrix, Grateful Dead, etc. It describes a place where androids in love can go to live without persecution. Whether this place is real or imaginary remains to be seen as the heavy layering and vocal manipulation give the song a dream sequence like feel.
The Suite III Overture is rather unlike the one for Suite II, instead far brighter and lighter sounding than the latters feeling of foreboding. The beginning of the suite feels like a continuation of "Mushrooms and Roses" However there is a brief period where the overture takes on a darker tone hinting at potential strife before returning to its optimistic sound. "Neon Valley Street" is the next song from Suite III, where Cindi has reached some sort of safe place she can reflect, and one more describes Cindi's feelings for her human lover and her dangerous situation in the city. Whereas Cindi appeared to push her feelings aside in "Cold War", we see that she still has them and hopes they can be rekindled when all the dust settles. "Make the Bus" features Of Montreal, incredibly dissimilar from the rest of the album, sounds like Scissor Sisters. While a good song outright, I feel it detracts from the album's cohesiveness and the story it was trying to tell. "Wondaland" continues the quirkiness of the previous track, with Monae adopting a small childish voice. Monae seemingly departs from the ficitional futuristic world of Metropolis to a much more fantastical, joyful place which is left completely up to the listener's imagination. "57821" returns the album back to the futuristic realm, folksy in style details Sir Greendown's quest for Cindi Mayweather after she left in an attempt to save her and support her in her cause. The song is both tragic in its depiction of his trials but also heartwarming in that the lovers are reunited. The track also sheds light on Cindi's fate since Suite II and the absurd departure from reality that occurred around the time of "Come Alive" until this track. Cindi has been a prisoner (probably at The Palace of the Dogs) and Greendown appears to come rescue her and set her free so she can achieve her goal, telling her to "Fight like Achilles in Troy" because he feels she's the only one who can achieve what she's attempting to do. "Say You'll Go" follows Cindi and Anthony's reunion, another slow track describing the truth of their deep love for each other and also, with its various references to different religions and asking "who will lead?/and who will follow?" seems to represent Cindi's continued self-realization. The track is different than most of the others in its simplicity, eventually becoming a pure piano ballad where Monae's vocals can just soar over without fear of being drowned out by synthesizers or heavy bass beats. "BaBopByeYa", at nearly 9 minutes, is the album's longest and most epic track. Beginning with a jazzy brass and string intro before Monae's vocals soulfully cut in. The song evolves with a pseudo-Spanish/African flavor away from a sentimental song, into a declaration made all the more distinct with the full vocal power not unlike gypsy melisma before becoming an instrumental track similar to the overtures until reaching its ultimate peak where Cindi finally and completely choosing to fully dedicate herself to her cause aided by the strength of her love to Anthony Greendown even if it's confined to just memory.
While Monae's Arch-Android has a program to it, it's by no means any less relevant. In the album, Monae addresses socio-political issues, gang violence, and several of her lyrics wouldn't be out of place outside of her fictional world like "Dance or Die"'s "We ought to protect the mind from degradation, sowing the seeds of education". Her tales of oppression, self-realization and identity, love and loss are all themes that can be applied to life. While functioning as entertainment, it also makes you realize and wonder when it's okay to rebel. Monae's Cindi had previously followed the rules of Metropolis until they infringed upon rights she thought she deserved. The afforementioned interview stated the listener would be changed by this album, and while originally a skeptic, I now fully believe Monae's declaration. Her album, with its fusion of genres and influences, doesn't just tell a fictional story but chronicles our own and while it might not inspire every listener to go out and right ever wrong, it certain does make them think and really that's all a good album needs. If you're looking for an album that's truly going to speak to you, look no further than Monae's The Arch-Android. It doesn't matter if hip-hop is your thing or not because Janelle Monae's genre-bending makes it an album that can appeal to pretty much everyone. And don't cheat yourself! If you're gonna listen to the album, listen to it fully through from beginning to end. You'll be surprised how you feel on the other side.

Janelle Monae dazzles on Letterman

So earlier this week Janelle Monae made her late night television debut performing her latest single "Tightrope" from the recently released debut album The Arch-Android. Her performance was probably one of the most energetic I've seen on any late night show and reminded me of Michael Jackson (watch her feet as she glides across the stage) and James Brown (an assistant bring her a cape). Enjoy Janelle Monae's performance of "Tightrope" on Letterman here:

Janelle Monae release trailer for new release

Eclectic Hip-Hop songtress Janelle Monae recently released a trailer for her upcoming sophomore release The Arch-Android and it's interesting in that in manages to build up anticipation without actually revealing anything about the new release. No movie trailer-esque snippets of the good parts here instead it features a rather epic orchestra arrangement and an aerial view of a futuristic city that might be Metropolis, the setting for the album. The aerial shot revolves around the city a couple times before expanding to reveal it as a part of Monae's crown.
The trailer while skimpy on the information does however reveal the release date of the new album as May 18 (this is the third date I've seen for it and hope it's the actual one). The album is available to pre-order now.

Watch: Janelle Monae - "Tightrope"

Janelle Monae released the "Tightrope" single earlier and fans have been eagerly awaiting the video from the quirky but lovable songstress. Now hey no longer have to wait. Monae released the video yesterday. The latest sojourn into Monae's Metropolis sees the revealing of an anti-dancing law and has the singer in a mental hospital called The Palace of Dogs. Monae had said that the new album The Arch-Android would have the heroine Cindi Mayweather acting a more of a rebel and this can be seen when she rallies the hospital patients (whose uniform are actually fancy unisex tuxes) into having a secret dance party before it is subdued by creepy mirror-faced guards. Big Boi of OutKast also features on his young protege's track. The track also features a funky brass section that both provide the music for the dance party and the track itself.
Watch it here:


Also Monae has moved up the release date of her album from the 25th to the 18th of May.

Janelle Monae to release new album in May

Normally I avoid hip hop, rap, and R&B like the plague. Not because I don't like it but because it usually takes me such a long time to find anything that I consider "good" that I often don't want to make the effort. However Janelle Monae makes me want to give these genres another chance.

What Janelle Monae does is hard to put a label on. Sure some would call what she does Hip Hop but she takes influences from everything and has a level of musicianship you don't normally see. Her style is quirky, her stage presence electrifying, her music is odd yet strangely relevant. You see, Janelle has gone about the album process in a different way. Instead of releasing full length albums with 12or so songs she decided to create and distribute smaller EPs that contain songs that would keep the listeners interest all thorough. These EPs are linked by overarching story of an android by the name of Cindi Mayweather who defies the rules set forth in a sort of futuristic steampunk world that states that android are not allowed to fall in love with humans. The EPs are part of a four part series known as the Metropolis Suite. She released (and then re-released when signed to Diddy's Bad Boy label) the first EP called The Chase. It sets up the story and has Cindi running from cyborg bounty hunters known as The Droid Control. The epic storyline is brought to life thanks to Monae's powerhouse vocals, lush orchestrations, and clear, confident delivery.

Now Ms. Monae has announced the release date of her debut album The Arch-Android, a combination of the second and third parts of the Metrolopis suite, for May 25. The album will follow the adventures of android Cindi Mayweather and will see her having sort of awakening not unlike Neo in the Matrix. The first single from the album Tightrope featuring Big Boi of Outkast fame has already been release and I'm sure a video is already in the works.

Fans of Monae won't have to wait until May for more though as already she's announced tour dates in a multitude of places beginning later this month. Enjoy her short film for her song "Many Moons" here: