Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Spellling "Mazy Fly" (2019)

Having been dazzled by an enchanting music experience with The Turning Wheel, this sophomore predecessor suffers the fate a shadow can cast. Its a notable experience Ive had on this journey when turning back the ticking hands of time. Mazy Fly has the same peculiar chemistry, a heart of soul espousing an eclectic convergence of styes and aesthetics. My lack of indulgence came about in its comparatively less nuanced approach. The brash 808 percussive pallet in the opening tracks exemplifying this bare bones feeling where the shades of chemistry seem obvious and separated.

Melted Wings brings out an of tune violin for an ambiguous dance into sorrows before being interspersed with spacey synth tones. Its a little unclear what the purpose is but followed up by more borderline cheesy, brash and bold synth tones, the melding of styles finds a spark on Hard To Please. Rubbing up against stiff percussion, its dreamy echoing Ethereal backdrop reminiscent of Julie Cruise finds much gusto as the strong synths bloom inline with Spellling's charming soulful singing.

For me this mid track was very much the albums crescendo, a peak reached that its successor cruised along. The rest of the record has these peculiar arrangements of Neo Soul, Chamber Pop, Psychedelia and Electronic aesthetics that don't quite align with the singing. The vocals swell with power and cower with breathy vulnerability but for all the orchestration animating away, It didn't resonate on the same wavelength as my first and powerful introduction to this interesting artist. I think I will leave the exploration here and keep an ear out for future releases!

Rating: 6/10

Spellling "The Turning Wheel" (2021)

 

In search of new sounds and experiences, I've found a record strung out with familiarity yet blindingly powerful in its execution of inspiration. It works for me, something I could swiftly get into and mull over these last few weeks. Chrystia Cabral, the brains behind the Spellling name, lends her immaculate voice to a timely orchestration of genre influences adjacent to the world of popular music. She is a powerhouse of breathy expression, rooted in classic soulful stylings. Her range is wide, diving with a masculine low on Magic Act and sailing to a childish, playful resonance on Little Deer. With each of these arrangements offering up a different temperament, she is the beacon that shines and guides us through these twelve offerings as they grow increasingly atmospheric, occasionally peering into a brittle darkness.

I could easily rattle off lists at this point. With a backbone of warm baselines, Organs, Pianos, String, Horns and strong vocal harmonization parade upfront in a variety of compositions that usher in many vibes. Pop music of the 60s, Soul, R&B, a little Jazz, Chamber Pop and Lounge too. There are subtle electronic influences worming there way in too. Always sounds more like an 80s Synth-pop ballad and after the slow brewing Awaken, aligned strongly with Classical ideas, the album starts to open up. Emperor With An Egg accrues various waveform instruments alongside its Classical instrumentation and the following Boys At School at school hints at Synthwave vibes which blossoms on Queen Of Wands, a track akin to Chelsea Wolfe's Pain Is Beauty. Its use of wobbly, eerie, spooky Horror synths a sensibility here that resurfaces, seemingly at odds with the mood of Sweet Talk. Little moments like this are littered throughout, sounds that seem out of context but work wonderfully.

I could go on but essentially we have bright and clear instrumentation arranged wonderfully with beautiful aesthetics and expressive instrumentation that despite showing its influences, feels entirely distinct as the web of influences weave together. The record sets out feeling more Soul and Baroque pop oriented but swells of instrumentation gives it a Progressive edge that blossoms as the songs continuously explore, bringing in more instruments, sounds and aesthetics as it goes on. Its melodies too often feel interchanged between these style, ushering in just the strangest sense of ideas in action. One can almost see the blueprint yet its outcome feels completely inspired and magical, without any design.

Rating: 8/10