Evoking the historical memory of these fruitful civilizations, Monáe aligns themself with their regality. “Champagne Shit” pairs an electric piano sound found in Ethiopian electronic dance music with a sinuous synth that mimics the ancient Egyptian ney flute. Wondaland co-producer Nate Wonder melds diasporic influences into an Afrofuturistic soundscape. Monáe flourishes in a Pan-African utopia. Some might argue that good Christians must deprive themselves of earthly pleasure, but the Good Book said, “Go, eat your bread with joy, and drink your wine with a merry heart, for God has already approved what you do.” Shaking their Baptist tits on a yacht in an all-white ensemble, Monáe keeps the liquor and celebratory mood flowing with those who value them in all their complexity. The Age of Pleasure revels in an ecclesiastic enjoyment of indulgence. They’ve come out as a “ free-ass motherfucker” and they refuse to dignify bigotry with any engagement. “No, I’m not the same, nigga,” they announce over celestial horns. Opener “ Float” is the victory speech to “Django Jane”’s battle cry.
