![]() Solange's lyrics here refuse to be direct and instead create ideas that reflect black culture opposed to the structured vignettes. WIGH is heavily fragmented, as it comes off as a broken glass version of its predecessor. Solange is on record that jazz is at the core of this record and you sense that in its untraditional mindset here. The songs instead bleed together here, favoring for the listener to take a moment and take in its breezy thirty eight minute runtime. In fact, the album rescues the idea of a traditional single all together. The powerful laments of black identity “Cranes in the Sky” and “Don’t Touch My Hair” are nowhere to be found here. But where as A Seat at the Table kept intense eye contact as its heavy themes left little to nothing to one’s imagination, When I Get Home lacks that sense of directness and swaps it out for a more abstract approach to the same ideas. The themes of black and female empowerment from A Seat at the Table radiate throughout the record. I’m not saying that this record has nothing to say - far from it. His performance is almost hypnotic in quality, where his voice and melody are so sweet that its distracts from the fact that he’s not saying anything profound.Īnd as Playboi Carti mastered this technique, it seems to have inspired Solange on her latest effort. ![]() ![]() His flow melts with the production and his voice perfectly accent whatever he’s trying to say. Yet Carti has never been an artist to rely on his words, rather for his case - it’s all about the sound. Carti’s lyricism here is vapid filling his allotted time with his typical ramblings about money and fame. Carti’s lyricism here Having Playboi Carti as the only vocal guest here perfectly encapsulates what Solange is going for on When I Get Home. Having Playboi Carti as the only vocal guest here perfectly encapsulates what Solange is going for on When I Get Home. ![]()
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