Since her 2010 debut album, The ArchAndroid, Janelle Monáe’s work has been grounded in intricacy.
Whether Monáe is building sci-fi worlds, continuing the Afrofuturism narrative of her Cindi Mayweather character or analyzing the concept of American identity on 2019’s Dirty Computer — which scored a nomination for Album Of The Year at the 2019 GRAMMYs — she tasks listeners with digesting various storylines and concepts.
Now, Monáe is shaking off all expectations with her fourth studio album, The Age of Pleasure. Released on June 9, the 14-track album takes a more streamlined approach, creating an escape in just over 30 minutes. The artist appears lighter, even more self-assured and quite frankly (as seen with her near-nude promo campaign) ready to get wild.
The Age of Pleasure is Monáe's first album in five years and trades in her previous warnings of AI-driven dystopian futures for a lush paradise, replete with a reggae swing. With warm melodies and lyrics meant for the bedroom (or wherever one enjoys pleasure), the album creates a utopia where all are welcome.
"I think being an artist gets lonely," Monáe told Rolling Stone in May. "Most people don’t understand what’s going on in my brain. Community has been so helpful to me; it’s beautiful that I have a title called The Age of Pleasure because it actually re-centers me. It’s not about an album anymore. I’ve changed my whole f—ing lifestyle."
Throughout its journey of self-exploration, here are five takeaways from Janelle Monáe’s new album, The Age of Pleasure.
Janelle Embraces Sexuality Across The Spectrum
In 2018, Monáe shared that she was pansexual and came out as nonbinary last year (using the pronouns "free-ass motherf—er, they/them, her/she"). Her journey of discovering more about her queer identity (which was alluded to in previous albums, most notably Dirty Computer’s woman empowerment anthem "Pynk") envelopes The Age of Pleasure.
"Lipstick Lover" is a hazy, reggae-tinged ode to the queer woman gaze ("I just wanna feel a little tongue, we don't have a long time," Monáe urges), while "The Rush" mimics an orgasm complete with a breathy spoken word by actress Nia Long and a naughty verse from Ghanaian American singer Amaarae. And then there’s "Water Slide," which floods the speakers with barely-concealed innuendos.
The idea of "guilty pleasure" is completely stripped of guilt. Here, there isn’t shame or taboo surrounding sexual acts or what one identifies as.
She Showcases The Beauty Of The Diaspora
While creating this album, Monáe got inspired through parties hosted on her Wondaland West property in Los Angeles. People from all backgrounds were welcomed, and the album celebrates the joining of the communities. Monáe called upon artists across the diaspora — Ghana, Nigeria, Jamaica and the Dirty South — to be part of her utopia.
Fela Kuti’s son Seun and his band Egypt 80 open the album on "Float," queer icon Grace Jones seduces the ear with the French-speaking "Ooh La La" interlude, Jamaican dancehall legend Sister Nancy provides reggae authenticity "The French 75." The end result shows there is power in creative numbers, as well as sonic commonality across the African diaspora.
Self-Confidence Is At An All-Time High
The artist is completely free lately, from displaying her breasts on red carpets to dancing on bar tops at afterparties. She adores every curve of her body, and that confidence radiates on The Age of Pleasure. It’s best displayed on "Phenomenal," where Monáe and rapper Doechii trade cocky lines atop a deliciously wacky beat that fuses South African amapiano with New York City ballroom culture. "I'm lookin' at a thousand versions of myself and we're all fine as f—," Monáe muses more than once.
She doesn’t want you to forget just how good she looks and wants everyone to feel that same way about themselves. The "I'm young and I'm Black and I'm wild" line on "Haute" is better digested as an affirmation in front of the mirror.
Pleasure Is Meant For Fun In The Sun
Pleasure is best enjoyed in the sweltering heat, so it only makes sense the artist released this album at the brink of summertime. Her "Lipstick Lover" music video is a hedonistic dream, with queer women and femmes enjoying each other’s company (and body parts) at a sweaty, West Coast pool party.
Album highlight "Only Have Eyes 42" winks at polyamory and its dreamy flip on the Flamingos’ 1959 doo-wop classic is best served with a Red Stripe beer and sand beneath one’s feet. Whether you’re enjoying the lapping waves on a Caribbean island or soaking up the rays in your backyard, The Age of Pleasure is the fuel for your own fiesta.
She Hasn’t Lost The Funk
As the late Prince’s mentee, Janelle Monáe is a master at funk. While she boasts "No I’m not the same" on the album opener, parts of Monáe’s previous sound excitedly peek through.
Her discography is stuffed with dancefloor jams, and The Age of Pleasure keeps the party going with a seamless fusion of rap, R&B and funk. Still, its exploration of new sounds like reggae, dancehall, amapiano and Afrobeats is a thrill.
From the triumphant horns on "Float" to the electric groove of "Champagne S—", the album is begging for a live rendition. It just so happens that Monáe is embarking on a North American tour. It kicks off on Aug. 30 in Seattle and will keep the good vibes going until Oct. 18 in Inglewood, California.
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