Janelle Monáe, Dirty Computer | Album Review 💿

Eclectic R&B artist Janelle Monáe delivers the most important, meaningful & transcendent LP of her career with Dirty Computer.  

Janelle Monáe isn’t a prolific artist when it comes to quantity. Years tend to go by between releases from the androgynous alt-R&B artist known for her tuxes and pompadour hair style.  While she doesn’t roll out music at a fast pace, the music she does roll out she makes totally worthwhile.  That’s the case with her third studio album, Dirty Computer, arguably the best of her career.  While the entirety of the Monáe discography is fantastic, Dirty Computer is the most important, meaningful, and most transcendent album of her career.  She absolutely kills it.

“Dirty Computer”

Brief title track “Dirty Computer” starts things off lushly, assisted by an unlikely collaborator – Brian Wilson.  Janelle Monáe sounds beautiful and commanding without the need for gospel histrionics.  “Crazy, Classic, Life” is more than doubles the duration of the opener.  Anchored by contemporary, hard drum programming, “Crazy, Classic, Life” has roots in the 80s, exemplified by the synths.  The overarching message is ‘living your truth’ – being ‘true to self.’

“I’m not the kind of girl you take home to your mama now.” “Take a Byte” keeps Dirty Computer both entertaining and enthralling.  Funky thriving off a mad groove, “Take a Byte” is driven by its feminist spirit as well as openness about sex and sexuality.  Following the brief interlude “Jane’s Dream,” she’s assisted by Zoë Kravitz on the unapologetic, five-minute-long “Screwed.” Naturally, “Screwed” plays on words, doubling as slang for women being ‘messed over’ or wrongly treated, as well as sex itself.  Explicitly if fittingly, the f-bomb is incorporated into the mix as well.

“Django Jane”

“Django Jane” features contemporary RAP production, with the key being RAP. There are synths, a prominent bass line, and hyper-rhythmic drum programming. Janelle Monaé enters the picture dropping bars – straight rhymes, no pop-rap. Throughout the sole rap verse, Monaé issues numerous one-liners about a variety of topics encompassing feminism, various awards, and Moonlight among others. “Django Jane” finds Monáe in full-on, unapologetic mode.

“Pynk, like the inside of your… baby.” “Pynk” is easily the boldest song of Monáe’s career. On both of the verses, she likens pynk to a number of things.  Pynk is vagina, but beyond the private part itself, women and ultimately, feminism. The theme of “PYNK” – feminism and same-sex female attraction/love – earns more attention than the production. That said, the production is excellent throughout, noticeably how cool and light the backdrop is during the verses. Monáe never has to push her voice, serving up beautiful and sweet vocals. She does bring more electricity towards the end, however.

“Make Me Feel” 

Highlight “Make Me Feel” blends throwback 80s R&B-funk production, and modern, urban contemporary fare.  Notable instruments used are guitars and of course, keyboards. Also, Grammy-nominated pop singer-songwriter Julia Michaels serves as a co-writer. The influence of Prince is evident, particularly the yelps that occur on the bridge section.  Monáe delivers sexy-sounding vocals, keeping up the sensual and risqué nature of Dirty Computer.

“I Got the Juice” featuring Pharrell Williams is among the quirkier songs from Dirty Computer.  The ‘juice’ has multiple meanings, including sexually. Monáe characterizes herself throughout the course of the soulful “I Like That”. On the verses, she paints a picture of eclecticism and nonconformity.  On the second verse, she asserts, “Take a different type of girl to keep the whole world afloat.” There’s dualism about the particular lyric.  In one token, Monáe is revealing more about her sexuality to the world.  In another token, she simply seems to be asserting she’s a special, truly unique person who can’t be pigeonholed.  On the pre-chorus, she continues this characterization, while she snarls on the chorus.

“And I like that
I don’t really give a fuck if I was just the only one
Who likes that
I never like to follow, follow around, the chase is on.”

“Don’t Judge Me” 

“Don’t Judge Me” is the longest record on Dirty Computer at six minutes.  Despite its length, it’s incredibly enjoyable and well-rounded.  A sexy song, most importantly, Monáe seems to capture the importance of an emotional connection and respect in a relationship.  Brief interlude “Stevie’s Dream” precedes the penultimate record “So Afraid,” where Monáe is “afraid of loving you.” Earlier, in the chorus, she proclaims, “I’m find in my shell.” “Americans” closes Dirty Computerembracing 80s cues and delivering the ultimate socially-charged message.  “Americans” is nothing short of an epic ending to an epic album.

Final Thoughts

Masterpiece. There’s little else to say about Dirty Computer. Janelle Monáe has consistently delivered throughout the course of her career, but her third album is definitely her most meaningful and transcendent.  Dirty Computer oozes with socially-charged issues, centering on feminism, identity issues, and sexuality.  Monaé never misses the mark – shots fall from everywhere on the floor.

Gems: “Crazy, Classic, Life,” “Take a Byte,” “Django Jane,” “Pynk, “Make Me Feel,” “I Like That” & “Americans”

Janelle Monáe • Dirty Computer • Bad Boy • Release: 4.27.18

Photo Credit: Bad Boy