Janelle Monáe Wants You to Discover Your 'Pleasure' with The Age of Pleasure
by Glyniss Wiggins
“No I’m not the same nigga, I think I done changed, nigga” is not just a fun and catchy, self-assuring hook. It’s a victory song and Jane 57821’s freedom cry for where we last left off from Dirty Computer. And more importantly, it is Janelle’s personal testament to their own liberation and freedom.
Last Friday, Janelle Monáe released their highly anticipated album The Age of Pleasure, their first album in five years. The “free ass motherfucker” that Monáe is is present from start to finish on this album, redefining their self in this new era of freedom; no longer holding the responsibility to make others feel comfortable and living in her 100% truth.
The album seems like a turn for Monáe, who has had an extensive and successful career in not only music but films like Hidden Figures, Moonlight, Antebellum and Glass Onion; making them a highly acclaimed artist of our generation. However, The Age of Pleasure represents an evolution for the artist.
The Age of Pleasure combines an elegant cadence and blend of Afrobeats, reggaeton, funk, hip-hop and R&B that is not only groovy– but unfolds in a way that is absolutely “pleasurable” to the ear. Co-produced by Nate Wonder, the album melds into the Afrofuturistic, sci-fi storytelling that isn’t quite unfamiliar to the artist. Each track on the 32-minute-ish album flows melodically into each other in a way like water, unpredictable yet sensual and exciting. Monáe is assured of their self, feeling “Haute”, glamorous, boastful on her “Champagne Shit” and is erotic, daring, and influencing others to join in on the fun. Their message with this album is clear; pleasure in whatever way you see fit. Whether that is self-love, comfort, sensuality, or sexuality.
The Age of Pleasure also holds a list of heavy collaborators. Like the melodic horns and reverberating bass of “Know Better” features CKay, Seun Kuti and Egypt 80’. Also catchy and rhythmic “Phenomenal” featuring Doeechi, the graveling seductive Frech speaking voice of Grace Jones on interlude “Oooh La La” and even “The Rush” with the soothing voice of Hollywood heartthrob Nia Long and ariose harmonies from Amaarae.
The all-too-short album ends on a reminiscing note with “Dry Red”. My point is, however, is that this album is simply a masterwork. From the victory cry of “Float” to the fun thrill and desire of “Lipstick Lover”, and even the sensual bluesy polyamorous romance on “Only Have Eyes 42”, this album is a beautiful and exquisite piece of paradise executed from the beginning to end.