At first glance, a futuristic R&B opera about some cyborg gal named Cindi Mayweather that takes place in the year 2719 doesn't exactly seem like the kind of music that would easy crossover into the mainstream. Chances are Metropolis, Suite I: The Chase, the first of a five-part series by Janelle Monae wouldn't strike most listeners as having much commercial marketability.
It wasn't until it caught the attention of Sean "Diddy" Combs that Janelle was able to sign a deal, making her Bad Boy Records' next up-and-comer.
The hip-hop label might seem an odd fit for Janelle's music. Metropolis is conceptual work that is stylistically and thematically unique. It's an often thrilling blend of spacey electro beats, trippy synth-pop and highly theatrical vocals. Call it a hip-hopera if you will, but even that doesn't do justice to the bizarre array of influences the Suite boasts.
It wasn't until it caught the attention of Sean "Diddy" Combs that Janelle was able to sign a deal, making her Bad Boy Records' next up-and-comer. The hip-hop label might seem an odd fit for Janelle's music. Metropolis is conceptual work that is stylistically and thematically unique. It's an often thrilling blend of spacey electro beats, trippy synth-pop and highly theatrical vocals. Call it a hip-hopera if you will, but even that doesn't do justice to the bizarre array of influences the Suite boasts.
