Then, on “Binz” she sings about wanting to show up to places on “CP time” while The-Dream incorporates Sister Nancy’s flow over production partly handled by Animal Collective’s Panda Bear. Gucci Mane shows up for a jazz-tinged “My Skin My Logo” where he and Solange gas each other up for a few bars. Not today” really means, but by the time you start to, the song has seamlessly transitioned into the bouncy, star-studded “Almeda,” which gets complementary contributions from The-Dream, Playboi Carti, and Pharrell. Tracks like “Dreams” will have you trying to figure out what “Dreams, they come a long way. The straightforward, and often therapeutic, themes about navigating racial microaggressions and disputes have been swapped out for abbreviated messages that require a bit more interpretation from the audience - or no interpretation at all. Those who wanted a sequel to A Seat at the Table will likely be disappointed with what When I Get Home offers musically. Thought moving around make me feel better.” Thought then my head be feeling clearer / I traveled 70 states. Solange echoed that on A Seat’s “Cranes in the Sky” when she sang, “I tried to run it away. Maybe this trend is a natural response to the many American cities with strong Black cultures that are rapidly changing, or it could be a nostalgia-informed urge by people who have traveled the world only to realize what they really need is to be grounded by their roots. In the next state over, Boosie Badazz tried his hand at recreating Louisiana blues with Boosie Blues Cafe. She isn’t alone in this kind of innovative call to her origins: late last year, her fellow Houstonian Travis Scott released his most complete album to date with Astroworld, which was set in a new, warped version of his favorite childhood amusement park. When I Get Home is very much a hearty love letter to the artist, producer, and singer’s hometown, but Solange exhibits that love by reimagining what the city would look like if it was constructed by her own dreams (the album’s intro is a repetitive invocation about imagination). Parts of “Sound of Rain” feel ike Art of Noise’s “Moments in Love” while at other points, she adopts conventional methods of Houston rap storytelling ( the repeating “swing on ‘em”). “Down with the Clique” has the contorting synths of early funk and the hook incorporates Houston chopping of her vocals. Throughout the album, Solange plays around with the ways her varying influences can coexist with one another.
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