35.
Janelle Monáe, ‘Dirty Computer,’ 2018
Everything is sex
Except sex, which is power
You know power is just sex
Now ask yourself who’s screwin’ you
Dirty Computer closes the chapter on Janelle Monáe’s alter ego, Cindi Mayweather, and instead presents Monáe as herself, addressing themes of freedom, empowerment, identity politics, and self-love. These themes are intricately woven into the album’s narrative arc, categorized into three segments—Reckoning, Celebration, and Reclamation—which collectively reflect upon societal perceptions, acceptance of one’s identity, and redefining personal narratives within a broader societal context. If the metaphor of a “dirty computer” symbolizes societal outsiders or those who buck conservative expectations, Monáe’s message is clear: celebrate uniqueness and defy attempts at conformity; celebrate individuality in an often-oppressive society. The narrative of a protagonist called Jane 57821 in a dystopian future being “cleaned” from her identity plays out in the accompanying visual work. This story, infused with strong political undercurrents, critiques societal norms and embraces the defiant celebration of individuality. The lyrics throughout Dirty Computer are a testament to Monáe’s newfound candor following her public declaration of pansexuality. The lyrics on tracks like Django Jane and Pynk are bold, unapologetic, and rooted in intersectional feminist discourse, challenging racial and gender inequality while celebrating sexual liberation. Monáe’s sharp lyricism is complemented by playful synth-laden melodies, as demonstrated in tracks like Make Me Feel, which echoes Prince’s influence, reflecting Monáe’s musical roots intertwined with a new personal and political consciousness.
While retaining elements of her Afrofuturist aesthetic, Dirty Computer departs from the conceptually ambitious frameworks of her previous albums and opts for a more direct musical approach. Dirty Computer is Monáe’s most accessible album to date, characterized by polished production and a blend of styles from electropop and funk to hip-hop and trap. Monáe’s ability to integrate a sophisticated production with pop sensibilities is accentuated in songs like I Like That, where she interacts with quirky, unconventional rhythms while maintaining a compelling melodic line. Tracks like Take a Byte and Crazy, Classic, Life meld infectious synth-pop beats with poignant lyrical content. Monáe’s collaboration with Brian Wilson evokes an aural nostalgia while engaging with futuristic themes, creating a rich tapestry of sound that is both retro and avant-garde. Dirty Computer is a culturally significant album: its explicit themes of queerness and social liberation resonate with audiences seeking representation and empowerment, leaving a lasting impact both as a work of art and a piece of social commentary.
Pynk like the inside of your, baby
Pynk like the walls and the doors, maybe
Pynk like your fingers in my, maybe
Pynk is the truth you can’t hide
Pynk like your tongue going ’round, baby
Pynk like the sun going down, maybe
Pynk like the holes in your heart, baby
Pynk is my favorite part
34.
Bon Iver, ‘Bon Iver,’ 2011
Third and Lake, it burnt away, the hallway
Was where we learned to celebrate
Automatic bought the years you’d talk for me
That night you played me “Lip Parade”
Not the needle, nor the thread, the lost decree
Saying nothing, that’s enough for me
Bon Iver, the self-titled album from the American indie folk band led by Justin Vernon, stands as a significant evolutionary leap in the band’s discography. The Bon Iver album is profound in its exploration of place and memory. Each of the ten tracks draws inspiration from various locations that evoke a sense of real yet imaginary landscapes. This transcends the band’s debut album For Emma‘s more localized emotional narrative of isolation in a Wisconsin cabin. Instead, Bon Iver paints a broader, almost mythical geography, as evidenced by track titles such as Perth, Minnesota, WI, and Calgary. The place names within the titles are less about physical locations and more about emotional landscapes, evoking a sense of wanderlust and the passage through different states of mind. These tracks collectively build a fantastical map of emotions and stories that blend reality with fantasy, inviting listeners into a space that Justin Vernon terms as “hovering between the two.” Vernon’s lyrical approach in Bon Iver moves away from the raw introspection of his debut towards a more impressionistic and layered style. The lyrics are often cryptic, delivering more through mood and ambiance than direct narrative. While For Emma conveyed its melancholic messages with heartbroken clarity, Bon Iver experiments with language, allowing the form to match the album’s expansive soundscape. These lyrics are not designed for literal interpretation but rather function as emotive brush strokes that paint broader emotional themes. Musically, Bon Iver is a sophisticated blend of folk roots with elements of experimental chamber pop. Vernon’s ambition to move away from traditional folk is evident as he seeks to construct a sound from diverse influences and collaborations, which diverges from the solitary, lo-fi aesthetic of For Emma, Forever Ago. The album incorporates a variety of instruments, including brass and strings, alongside Vernon’s signature guitar, enriching its sonic palette. One of the standout tracks, Holocene, exemplifies this intricate layering. It features Vernon’s haunting falsetto over a backdrop of subtly shifting acoustic guitar patterns and atmospheric textures. Tracks like Calgary and Wash. introduce electronic elements and rich orchestrations, propelling the album into a realm of lush soundscapes. Each composition is meticulously crafted, with attention to detail in dynamics and arrangement.
I… we’re sewing up through the latchet greens
I… un-peel keenness, honey, bean for bean
Same white pillar tone as with the bone street
Sand is thrown where she stashed us at
All been living alone
Where the cracks at in the low part of the stoning
33.
Beach House, ‘Teen Dream,’ 2010
The third studio album by the American dream pop duo Beach House, Teen Dream, as the title suggests, dips deeply into themes evocative of youth, nostalgia, and emotional introspection. While its sound might initially suggest an ethereal and wistful look back at youthful innocence, the themes explored in the lyrics convey a more complex and sometimes melancholic message. Teen Dream encapsulates emotions of uncertainty, doubt, and the weariness that life often brings. It walks through paths of self-discovery and longing, underscored by an undercurrent of sadness despite the dreamy veneer. Tracks like Walk in the Park imply solitude and introspection, revealing personal narratives that range from heartache to empowerment. This track epitomizes the overarching sentiment of the album — an exploration into the depths of personal isolation and eventual cathartic release. Victoria Legrand, the principal lyricist, often uses her voice as an instrument, layering it with poignant lyrics that remain somewhat cryptic upon first listening. Her phrasing tends to mask the full emotional gravity of the lyrics, which often requires more focused listening to unravel. Tracks like 10 Mile Radio and Real Love offer narrative depth as they transition from hopeful introspection to thicker emotional atmospheres, utilizing repetition and musical nuance to highlight their lyrical intentions.
The composition on Teen Dream exhibits a brilliant fusion of Beach House’s core dream pop sensibilities while branching out into more adventurous, mature territories. Each track is constructed with heavy use of lush synths, layered vocals, and reverb-drenched guitar performances by Alex Scally, which create a soundscape that seems both haunting and inviting at the same time. This intricate layering of instruments and sounds aids in establishing the atmospheres unique to each track, ranging from the ethereal whispers of Zebra to the more grounded, evocative depths of Lover of Mine. The album was recorded in a converted church in upstate New York. This environment contributes to the echoic, cathedral-like sound of the album. The production style blends both warmth and clarity, moving away from the smaller, lo-fi sensibilities of their previous works and into broader, bolder sonic territory. The choice of locale added a dimension of spaciousness and reverberation to the recordings, which are integral to dream pop’s aesthetic.
32.
Solange, ‘A Seat at the Table,’ 2016
After an eight-year hiatus, Solange Knowles’ third studio album, A Seat at the Table stands as a poignant and artistically intricate exploration of Black identity, empowerment, and resilience. The concept of A Seat at the Table is implicit in its title, referencing both a place of inclusion and influence in spaces historically dominated by others and highlighting a personal and communal quest for empowerment. Solange uses this metaphorical seat to articulate reflections on Black rage, despair, trauma, and empowerment, ultimately leading to joy. The album’s relevance was amplified by the social climate of 2016, especially against the backdrop of the Black Lives Matter movement, making it a timely commentary on racial dynamics. However, the themes explored extend beyond their immediate context, delivering potent messages that resonate universally. Each track contributes to this theme by addressing specific facets of Black experience, where the lyrical narrative is deeply entwined with Solange’s own family history and experiences as a Black woman in America, lending authenticity and gravity to her words. Songs like Don’t Touch My Hair and F.U.B.U. directly confront racial prejudices and questions of bodily autonomy, while various interludes throughout the album featuring Solange’s parents offer heartfelt narratives on historical and personal encounters with racism. Tracks like Cranes in the Sky delve into themes of avoidance and emotional turmoil, metaphorically represented by looming cranes disturbing an otherwise serene skyline. The imagery is potent and resonates with individuals experiencing both personal and systemic upheaval. A Seat at the Table is an auditory mosaic that incorporates a variety of genres, including R&B, funk, soul, and elements of indie rock. This amalgamation not only showcases Solange’s eclectic taste but also enhances the album’s thematic narrative by grounding it in rich and diverse musical traditions. Each track is imbued with a sense of ethereal beauty—whether through the gentle rustling of strings, the warm embrace of harmonious brass, or the restrained yet poignant rhythmic sections—that aligns perfectly with the thematic concerns of the album. Songs like Weary and Junie incorporate distinctive synths and experimental sounds juxtaposed with the traditional soul, creating an ambient, dreamlike atmosphere that envelops the listener. This careful balance of styles underscores Solange’s ability to convey profound messages through a soundscape that is as intricate as it is accessible.
31.
HAIM, ‘Days Are Gone,’ 2013
HAIM’s debut studio album Days Are Gone, catapultes the trio of sisters—Danielle, Este, and Alana Haim—into the contemporary pop-rock scene. Days Are Gone encapsulates a nostalgic yet modern take on pop music, merging various generational influences into a distinct package. The overarching theme revolves around relationships, particularly the complexities and emotional turbulence involved in their dissolution. The album’s title implies a longing recollection of past experiences—a theme that permeates its lyrical content, further emphasizing the sisters’ introspections on love and loss. The album’s standout tracks like The Wire, Forever, and Don’t Save Me carry the theme of relationships through lyrical narratives that are both relatable and engaging. The Wire, in particular, presents a benevolent breakup anthem that offers kindness in the face of ending a relationship, a theme encapsulated in the lyrics: “I gave it all away / Just so I could say that / Well I know that you’re gonna be OK anyway.” This approach reflects a maturity and self-awareness that elevates the album beyond mere pop confection. While the album’s lyrics aren’t particularly complex or groundbreaking, they effectively support the album’s infectious melody lines. Danielle’s understated delivery, combined with the harmonious backing of her sisters, showcases the unique familial synergy that HAIM harnesses to create songs that resonate on both a sonic and emotional level.
Musically, Days Are Gone is a tour de force of pop-rock composition. The sound of Days Are Gone is an amalgam of different eras—from Fleetwood Mac and Joni Mitchell to ’70s rock, ’80s pop, and ’90s R&B are all evident, yet the result is something uniquely HAIM. The rhythmic complexity of Days Are Gone, with staccato vocal melodies and palm-muted guitar riffs, highlights the album’s innovation and artistic ambition. HAIM’s knack for creating hook-laden tunes with layered vocals over echo-y drums and synth defines this album as a memorable entry in pop music. HAIM is often compared to Fleetwood Mac due to their intricate vocal harmonies and California aesthetic, yet Days Are Gone proves that the sisters are much more than the sum of their influences. The album’s enduring appeal lies in its ability to craft something fresh and exciting from familiar sounds, foretelling the evolution of HAIM’s style in subsequent works such as Something To Tell You and Women In Music Pt. III.