Janelle Monáe is back and spotlighting her hyper-stylish in her new tasty black-and-white schemed video for the equally impressive single, "Q.U.E.E.N." the first single from Monáe's upcoming sophomore effort, "The Electric Lady," expected for a fall release. Channeling the retro swagger of Elvis's "Jailhouse Rock" video, the 27-year-old soul-funk pioneer jams while surrounded by six dancing ladies rocking bold black-striped looks in this old school soul feeds new school funk.
The powerful Erykah Badu-assisted jam, "Q.U.E.E.N.," is an irresistible art-funk strut, and also, is terrific - a punk cabaret groover that drops back on Badu's verse to highlight an incredible, funky bass lick and then makes a string-heavy transition into Monáe's unexpectedly relentless rap. It's exactly the type of stylishly futuristic and playfully absurd aesthetic we've come to expect from Monáe, and the dystopian intro perfectly sets the tone for the defiant and quirky jam that follows. Its sexy, slinky, impossibly funky grooves demanded a next-level video, and the forward-thinking Monáe has certainly delivered.
Directed by Alan Ferguson, "Q.U.E.E.N." and takes place in an alternate future, the clip depicts Monáe and Erykah as frozen human sculptures in what could easily pass for an interactive Soho pop-up art gallery. As "Q.U.E.E.N."'s funk-tinged bass line kicks in, the sculptures flicker to life with Monáe twerking in her chair and singing about haters and their snap judgements: "I can't believe all of the things they say about me/ Walk in the room they throwing shade left to right." The clip gives off a very artistic, grown woman, sophisticated fun type of feeling.
The funky Alan Ferguson-directed clip, an absolutely deadly early-'60s mod mook, and explores a witty concept, sees hipster artist Monáe teams with Badu where the two star as a museum exhibit comes to life. Instead of her predictable black-and-white tuxedo, Monáe throws on some Givenchy heels and shows off her shapely figure and some crispy dance steps while claiming her QUEEN-status. Backed by an aesthetically stunning bevy of mod '60s dancers, Monáe finally sidles up to a sexy look Badu, who's looking terribly regal in all white and gold. Together, they sing about female equality and loving oneself despite social pressure.
The powerful Erykah Badu-assisted jam, "Q.U.E.E.N.," is an irresistible art-funk strut, and also, is terrific - a punk cabaret groover that drops back on Badu's verse to highlight an incredible, funky bass lick and then makes a string-heavy transition into Monáe's unexpectedly relentless rap. It's exactly the type of stylishly futuristic and playfully absurd aesthetic we've come to expect from Monáe, and the dystopian intro perfectly sets the tone for the defiant and quirky jam that follows. Its sexy, slinky, impossibly funky grooves demanded a next-level video, and the forward-thinking Monáe has certainly delivered.
Directed by Alan Ferguson, "Q.U.E.E.N." and takes place in an alternate future, the clip depicts Monáe and Erykah as frozen human sculptures in what could easily pass for an interactive Soho pop-up art gallery. As "Q.U.E.E.N."'s funk-tinged bass line kicks in, the sculptures flicker to life with Monáe twerking in her chair and singing about haters and their snap judgements: "I can't believe all of the things they say about me/ Walk in the room they throwing shade left to right." The clip gives off a very artistic, grown woman, sophisticated fun type of feeling.
The funky Alan Ferguson-directed clip, an absolutely deadly early-'60s mod mook, and explores a witty concept, sees hipster artist Monáe teams with Badu where the two star as a museum exhibit comes to life. Instead of her predictable black-and-white tuxedo, Monáe throws on some Givenchy heels and shows off her shapely figure and some crispy dance steps while claiming her QUEEN-status. Backed by an aesthetically stunning bevy of mod '60s dancers, Monáe finally sidles up to a sexy look Badu, who's looking terribly regal in all white and gold. Together, they sing about female equality and loving oneself despite social pressure.
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