How do you go FROM THIS?

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To THIS?

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to THIS?????

>>70263486
Sooooooooooooooooooooooo overrated

The beginning of "it's good because it's black"

>>70263506
Dance Apocalyptic and that Eureka Badu song was p good

>>70263510
>I didn't like it so "it's good because it's black"

please fucking noose yourself

>>70263506
I liked this more desu although both albums are cool

>>70263510
Hol up nigga now i know you ain't dissin this here beautiful black woman named JANELLE MONAE, baka cracka u need some melanyn in yo life fuckin dumbass

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To this

>>70263510
I'm an extreme racist and this is a good album

I hate it when an artist composes a good song only to put nonsense lyrics on top, making it unplayable in a group of people.

https://www.youtube.com/watch?v=LPFgBCUBMYk

>>70263506
Damn who's the short haired cutie in the back all the way to the left?

>>70263530
beetlejuice pants and an ugly face to match, damn

>>70263510

It was good because it was good, the blackness overtaking the goodness of what ruined her. Same thing that happened with Solange's latest.

Tell me this is a black track:

https://youtu.be/bq1KWMyvgnk

>>70263523
Hi there, whom are you quoting?

>>70263526
i didn't know text to speech could capture someone having a stroke

>>70263556
What does black track even mean

>>70263569
This was never funny

>>70263556
I never said it was a black album, I said it's overrated because she's black

Then of course the "patrician" lemmings follow the leader (the critics)

>>70263597

It's appropriately rated regardless of her race

>>70263642
>91/100 on meta critic
No. Most of the songs are forgettable and boring. 80/100 tops

>>70263660
Have you ever considered that maybe people have different opinions on things

>>70263672
When I rate music I rate it objectively unlike most people

Others opinions are usually wrong

for the record I love this album and hate tightrope

>>70263685
Suck my ass dude.

Amazing album

>>70263685
How did you acquire this skill

>>70263773
First things first when you listen to the music you must sit and stare straight in between your two speakers as if you're zoning out. Big mistake most people make is they don't do this. That's just step one though.

>>70263832
hello, cal chuchesta

>>70263742
Fine. Spread the cheeks. Do you want me to finger you too? I'll get some lube.

>>70263867
stop posting anytime

>>70263855
Who?

>>70263685
>>70263832
great joke my dude

>>70263486
>>70263506
Eh I think they are both different approaches overall. ArchAndroid is more of a stylistic genre jumper while Electric Lady is strictly RnB throughout but with slight bits of other genres just kinda seeping in rather than complete change like ArchAndroid. Versatility or cohesiveness? Work centered on melodies or work centered on grooves? You decide! That being said the interludes on The Electric Lady are what really bring it down since they kinda fuck up what that record was going for. Also I think the weird old fashioned approach to everything on TEL is on purpose due to the time travel stuff that becomes part of the plot.

>>70263510
Your bait doesn't really work all that well since people who get critically lauded because of their race or gender tend to make their music be just about that, often in a narrow-minded manner. Monae does the whole robot thing to transcend this shit.

>>70263867
If you could reach around and jack me off a bit too that'd be lovely.

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>>70263510

The second and third parts of a suite inspired by the classic German film Metropolis (1927) showed up on The ArchAndroid (Bad Boy, 2010), a concept album that marked a quantum leap forward in musical ambition. Painstakingly organized and arranged, it displayed an even more eclectic musical intelligence, the natural heir to Lauryn Hill's project. To prove her point, Moane opens the album with the ominous symphonic music of Suite II Overture, only to follow it with the Brazilian and African overtones of Dance Or Die a frenzied rap that battles a celestial melody sung by a female choir while horns, strings, syncopated beats and digital sound effects sculpt a friendly, earthly soundscape. This segues seamlessly into the devilish guitar-driven dance of Faster whose thumping rhythm harks back to the age of jump blues and charleston. Locked Inside lowers the speed for a breezy melody taken straight out of easy-listening pop of the 1960s and a rhythm that owes something to Michael Jackson's Rock With You. Past the naive tip-toed ballad Sir Greendown that belongs to the age of the early teenage idols, and the temporary impersonation of a disco diva of the 1970s in Cold War, she travels to the age of James Brown for Tightrope, featuring Outkast's Bad Boi, en engrossing affair for funky guitar, choir and orchestra. The amount of musical history that she can cover within the space of a few songs is both entertaining and intimidating. Minutes later she's back to the early 1960s for Oh Maker in her best imitation of Dusty Springfield and Sandie Shaw. Next she's competing with the visceral rhythm'n'blues shouters of the 1950s in the frenzied Come Alive, except that tiny details such as vocal effects and chiming bells lend the song a disturbing psychological power.

1/2

>>70265665

The sensual distorted melody and the rhythmic crescendo of Mushrooms & Roses sounds like a tribute to Purple Rain-era Prince. Suite 3, a shorter six-song cycle, opens with another symphonic overture that segues into the languid Neon Valley Street (possibly the album's only misstep). The post-disco burner Make The Bus, a creation of Of Montreal's Kevin Barnes that exudes a bit of Pet Shop Boys-ian grandeur, is paired with the exotic ballet Wondaland, sung in a shrill voice, that harks back to Kate Bush and to synth-pop of the 1980s. Just when she seems to have exhausted all existing as well as non-existing genres, she intones the medieval-tinged hymn of 57821, one of the most poignant moments in the recording history of her generation. After a less successful tribute to Stevie Wonder's brainy soul music (Say You'll Go), she ends the album with the eight-minute BabopbyeYa in the manner of a late-night torch singer except that she's backed by a blaring symphony orchestra and that the music rapidly decays into a Brazilian samba, loose cacophony, a spoken-word recitation against a solemn female choir, and jazzy chamber music. The album is a breathless, dizzy run through the annals of pop, rock and soul (credit also producers Charles "Chuck Lightning" Joseph II and Nathaniel "Nate 'Rocket' Wonder'" Irvin III). That it remains cohesive despite all the jumps back and forth in time is a miracle. It feels like a stylistic tsunami, but one that builds instead of devastating.

both albums have their fair share of filler.

still good though.

>>70263506
IS THIS A MOTHER FUCKING JOJO REFERENCE???

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>>70263506
short hair black qties

>>70265667
>>70265665

Shut the fuck up, we just want to know what he rated it!!!

>>70267031

8/10

>>70263510
>>70263526
cringe

>>70265665
>>70265667
Thanks for proving my point

>muh musical history and knowledge
Who gives a shit? All that matters is the way it sounds

>>70268910

>All that matters is the way it sounds

which is exactly what he was talking about

do you seriously believe that the history of music is not important when judging a modern album?

albums should be held to the standards of what was achieved in the past. innovation is what should be praised. Scaruffi praises that album for blending an enormous amount of styles from the past into something modern and unique-sounding. he was using historical knowledge as a reference point for how the album sounds (in relation to those older forms of music).

or maybe you're just on of those music fans who just thinks "dude if it sounds good to my ears then its good!!"

>>70263486
>>70263506
What I really want to ask is how the FUCK do you go to Yoga after these?

>>70269016
$

>>70269016

I know, I just didn't wanna mention it, good god wtf.

The only Monae song I dislike is Primetime, that one featuring Miguel. I really hate it.

>>70269081
Anon I hate that song. Plus I hate Cold War from Arch. Just cheesy 2 me