Janelle Monáe’s ‘Dirty Computer’ is evolutionary yet relatable
Jacob Pitts
Staff Writer
After a decade of playing a character in her music and then venturing into acting, Janelle Monáe reveals her true self on her latest album, “Dirty Computer.”
Janelle Monáe is one of the very few celebrities who has successfully managed to retain her mysterious allure in the social media age, even going so far as creating an alter ego to perform as, but with “Dirty Computer,” she finally allows some insight into her personal life. She honestly should have done it sooner because her most intimate project also happens to be her greatest.
“Dirty Computer” opens with the title track, making it clear that the album will be nothing like anything Monáe has ever recorded before. Her previous works all opened with classical overtures that set the scene for her sci-fi-inspired Metropolis suites. Instead, Brian Wilson, of the Beach Boys, croons in the background.
The lyrics, “If you look closer you’ll recognize, I’m not that special, I’m broke inside” are presumably a message to Monáe’s fans, who have idealized her as an otherworldly figure despite being a flawed human at heart.
As the album continues, she keeps on disproving preconceived notions about herself. On “I Like That,” she chill-inducingly raps about being the object of middle school teasing. Nevertheless, Monáe brags, “But, even back then, with the tears in my eyes, I always knew I was the shit.” One of the album’s obvious standouts, the song is an anthem for those who grew up feeling weird, different or misunderstood.
Now known for her beauty just as much as her musical talent, “I Like That” doubles as a shout-out to those who underestimated it.
On “Pynk,” Monáe embraces her femininity and anatomy. When she first debuted on the music scene, her signature style was black and white tuxedos, and she was often accused of presenting herself as too masculine. With “Pynk,” of which features Canadian musician Grimes, she assures these critics she’s proud of her womanhood no matter how many gender stereotypes she breaks.
It sounds more like a Grimes song than a Janelle Monáe song, but she’s no stranger to genre-hopping, having dabbled in R&B, soul, folk, rap, funk, jazz, trap, dance, rock and classical. While the lyrics are slightly different, they’re meant to reference “Pink” by Aerosmith.
Compared to her other albums, “Dirty Computer” takes the least amount of time to delve into. Songs like the steamy Prince-inspired “Make Me Feel” and the free-spirited “Crazy, Classic, Life” are instant earworms upon the first listen.
Before his untimely death, Prince was Monáe’s inspiration-turned-mentor. Always one of her biggest idols, they eventually collaborated, and much of “Dirty Computer” was created during her mourning period. The main riff of “Make Me Feel” is nearly identical to the famous one in his song, “Kiss.”
Other infectious songs include “Django Jane” and “Screwed.” Inspired by “Black Panther’s” Dora Milaje, “Django Jane” is a black pride anthem all the way through, and “Screwed,” written in the wake of the 2016 presidential election, is both depressing and irresistible.
The closing track, “Americans,” juxtaposes a patriotic-sounding melody with more ironic and satirical lyrics about American society. If Bruce Springsteen wrote a tune and left the words to Green Day during their American Idiot era, this would be the result. A spoken part recites a manifesto championing the oppressed and declares “It’s gonna be [their] America before it’s all over.”
Those who fear the old Janelle Monáe is gone need not worry. There are still callbacks to her earlier work for those who aren’t yet accustomed to her recent evolution. The outro of “So Afraid” contains another classical instrumental, and she still hasn’t dropped the interludes that populated her previous albums. Also, the flirtatious, Pharrell-assisted “I Got the Juice” is a natural successor to her old track, “Yoga.”
“Dirty Computer” will be looked back on as a creative turning point in Janelle Monáe’s career, much like “Lemonade” was for Beyoncé. It’s not afraid to discuss controversial subjects, addressing race, gender, sexuality, police brutality and Monáe’s own personal life, which was extremely secretive until recently. Even with the curtain pulled back, her magic hasn’t diminished.