I always considered Dolby an interesting artist, albeit one who'd mostly slipped beneath my radar. I remember hearing a few of his more well known singles on the TV and radio growing up, 'Blinded Me With Science', 'Close But No Cigar' and 'Airhead' being notable examples, but he continued to pass me by for a long time. Some years later, I came across this album and from the plastic electro-funk of opener 'Dissidents', I knew wanted to hear more.
With only 7 songs, 'The Flat Earth' is a very short album, but one that manages to cover a lot of ground. What I love about it is the way it sounds very much a product of the early 80s in which it was produced, whilst also sounding ahead of its time. I credit this in part to the production which is crisp and defined in a manner you would not typically associate with the era.
Of course, it's not just about production, TFE also has some damn fine songs. Dolby combines an idiosyncratic approach to pop with remarkable musicianship throughout, and every time I play this album, I am always amazed at just how well put together it is.
With some albums, you can tell almost straight away that they will stay with you forever.
I first discovered Janelle Monae via last.fm sometime around 2009. The first song was 'Violet Stars Happy Hunting' from her 'Metropolis' EP, and I was immediately hooked. Monae's music was a million miles away from the saccharine pop stylings of the R'n'B she is sometimes lazily cateogrised as. This was fresh, daring, and boldly experimental; an artist, not an entertainer.
So a year later, I was very pleased to hear that she had just released a new album, so without hesitating, I grabbed a copy. As suggested above, it was love at first listen: the album begins with a theatrical classical suite that's followed by a foot tapping psychedelic pop ditty, that's followed by a bouncy new-wave number, that's followed by a Stevie Wonder inspired neo soul tune... well, you get the idea. This freewheeling and seemingly effortless experimentalism and flamboyance never lets up for the entire album, all held together by unifying musical motifs and Monae's powerful voice.
What struck me was the sheer genius of this woman. When listening to this album, you simply cannot escape the fact that is was created by someone who really knows, understands and, above all, loves music. To me, it's a level of genius that approaches the likes of Prince or the aforementioned Stevie Wonder which, in itself tells you just how special this album is.
This musical vivacity has unfortunately not yielded commercial dividends for Monae, who is criticised by some for not conforming to a more obvious pop-friendly formula, but these criticisms miss the point: that "market" is more than catered for. There are legions of entertainers in that ballpark churning out endless streams of tacky, autotuned pop with factory-like precision, and for Monae to toe that line would be an extraordinary waste of talent. (Her unnecessary attempt to appeal to that audience with the cringeworthy standalone single 'Yoga' ably proves that point.)
In 2011, I took my fiance to a Janelle Monae gig which today remains one of my favourite live experiences. The music from the album was married to a wonderful stage performance featuring Monae's sharply attired backing band and dancers (decked in the characteristic black and white suits), mysterious hooded figures, zombies (during 'Sincerely, Jane' from the EP) and a stentorian witch doctor. The gig was also a first for my fiance who'd previously never been to a live show, so this album, and the gig itself also carry some sentimental weight.
I honestly cannot enthuse about this album enough. I'm even listening to it as I type this entry! I make a point of encouraging people to listen to this album, so if you haven't heard it, then get the hell off this blog and listen to it NOW. Maybe then you'll discover exactly why I number it as an all-time favourite.
