After two concept albums and a string of roles in Hollywood blockbusters, one of music’s fiercest visionaries sheds her alter egos and steps out as herself. Buckle up: Human Monáe wields twice the power of any sci-fi character. In this confessional, far-reaching triumph, she dreams of a world in which love wins (“Pynk") and women of color have agency (“Django Jane”). Featuring guest appearances from Brian Wilson, Grimes, and Pharrell—and bearing the clear influence of Prince, Monae’s late mentor—Dirty Computer is as uncompromising and mighty as it is graceful and fun. “I’m the venom and the antidote,” she wails in “I Like That,” a song about embracing these very contradictions. “Take a different type of girl to keep the whole world afloat.”

It's been five years since we've received an album from Janelle Monáe. Her 2018 effort Dirty Computer follows The Electric Lady and like her past two albums voyage to a futuristic land that only Monáe can see. Last month, Janelle Monáe shared two songs, "Make Me Feel" and "Django Jane," which were her attempts at bringing women together during a time of reckoning where women are the forces behind Hollywood's Time's Up initiative and movements like the Black Lives Matter.
"PYNK" featuring Grimes premiered as the World Record on Zane Lowe's Beats 1 show.

Janelle Monae, "The ArchAndroid" (Bad Boy/Atlantic Records)
Janelle Monae, who draws some of her inspirations from Fritz Lang's classic sci-fi movie "Metropolis," likes to play up a robotic image — but the singer is far from programmed.
"The ArchAndroid," Monae's first full-length album, is the follow-up to her brilliantly crafted EP, "Metropolis, Suite I: The Chase"; "ArchAndroid" includes the second and third suites of her futuristic saga.
The adventure kicks off with the melodramatic, theatrical opener "Suite II Overture." And what's next is undeniably one of the year's best tracks: "Dance or Die," a Fela-flavored jam with super swag. The song's title seems to be the 24-year-old's motto for life.
Monae continues her psychedelic momentum with the addictive "Faster" and "Locked Inside," a song with a doo-wop groove.
Monae's voice is wonderfully flexible, and adapts according to the track. She sounds playful on "Tightrope," powerful "Oh, Maker" and laid-back on "Neon Valley Street." And her vocals are enhanced by the amazing sounds of the Wondaland ArchOrchestra.
The disc has a range of influences, from Stevie Wonder to Walt Disney to David Bowie. There are odd ones too: She says "Cold War," a mechanical groove with an in-your-face beat, was partly inspired by Muhammad Ali's fists, while the distorted "Mushrooms & Roses" drew insight from a stage dive at Bonnaroo.
The only issue with "ArchAndroid" is that there may be too much going on. "The Chase," which included the masterful, Grammy-nominated tune "Many Moons," ran five tracks long (it was later rereleased with two additional songs). It was short and sweet, and kept listeners yearning for more. "ArchAndroid," which clocks in at 108 minutes, is simply too long. Despite that, Monae still delivers something extraordinary, different and heroic.
CHECK THIS TRACK OUT: Monae's hyperactive flow on "Dance or Die," which features poet-actor Saul Williams, is top-notch. In a music world desperately missing the multitalented Lauryn Hill, Monae may be its savior.