A celebration of black culture. The soulfulness of the album can come off as unnatural, instead performing “soul” and “heart” with robotic precision like it performs everything else. Yes, is overbearing in the way it wants to announce itself as makes most sense when considered in the context of Solange’s recent performanceechoing across a big, empty room than a concert venue., then, accomplishes the rare feat of deserving every bad thing you could say about it and still being an achievement. Her monotone delivery of lines like “I can’t be a singular expression of myself, there’s too many parts, too many spaces, too many manifestations…” on the interlude “Can I Hold the Mic” are almost pitch-perfect slam poetry parody. This surprise album of 2019 was something we didn’t know we needed.The world's defining voice in music and pop culture since 1952. The 33-minute film was directed and edited by Solange.

“Almeda” is similar, turning a trap record into a jazz one. While the album often operates as if the takeaway from its predecessor was not that Solange expertly wove pop songs into a larger tapestry on identity, but instead that the thrill was in its ethereal, fragmented musicianship and a self-serious view of the album as “an artistic statement,” it still functions as an intriguing entry into the ongoing conversation of how to make and expand upon modern popular music without boxing oneself in via the conventions of song making. When I Get Home is an album, yes. Film Books Music Art & design TV & radio Stage Classical Games More Solange Knowles Solange: When I Get Home review – lose yourself in Knowles' hazy vision 3 / 5 stars 3 out of 5 stars. Her monotone delivery of lines like “I can’t be a singular expression of myself, there’s too many parts, too many spaces, too many manifestations…” on the interlude “Can I Hold the Mic” are almost pitch-perfect slam poetry parody. Its sound is enveloping and frequently lovely, and the songs and interludes wash subtly over each other. When she sprinkles in guests like The-Dream, Earl Sweatshirt, Devin the Dude, Cassie or Panda Bear, it feels as if there is not much purpose beyond impressing you with the fact of such an artist’s inclusion. Solange has yet to take a break from rolling out her When I Get Home album and film of the same name, which she surprised us with in March. The album is too absorbed by its own brilliance, making it hard to penetrate. Her natural prowess is soothing and commanding while everything around her is erratic. Watching the may be unwieldy and tiring, but it is plenty brilliant as well. Solange has released a companion film to accompany her new album, When I Get Home. , Solange has embarked on her own mission, bringing (with varying degrees of success) her off-kilter pop sensibilities to a wide range of music she thought was cool and interesting. The soulfulness of the album can come off as unnatural, instead performing “soul” and “heart” with robotic precision like it performs everything else.
When I Get Home is exploratory, but still kind of glossy.

an album, a tag which it appears to have no aspiration of wearing. is easy to praise and admire, but it can also be hard to love. When she sprinkles in guests like The-Dream, Earl Sweatshirt, Devin the Dude, Cassie or Panda Bear, it feels as if there is not much purpose beyond impressing you with the fact of such an artist’s inclusion. But when it becomes apparent that this is it, and it’s not building up to a sparkling chorus, it’s hard to suppress a feeling of being slightly underwhelmed.

It earns the applause it craves. Yes, is overbearing in the way it wants to announce itself as makes most sense when considered in the context of Solange’s recent performanceechoing across a big, empty room than a concert venue., then, accomplishes the rare feat of deserving every bad thing you could say about it and still being an achievement. You listen and think would it have killed you to write a few more of these?Evidently Knowles didn’t want to.
This surprise-released, self-produced record is a reminder that Solange is an R&B frontrunner in her own right. “When I Get Home” is a challenging and satisfying follow-up to “A Seat at the Table,” one that will probably baffle some fans but intrigue and engage even more. , on the one hand, is a portrait of Solange, following the success of , leaning to the point of falling into all the most pretentious aspects of that record. It’s a situation compounded by Jerrod, the most straightforward thing here, where the fogginess clears: the chord changes are still unexpected, the sound remains in an intriguing space between smooth, jazzy late 70s/early 80s soul and something more left-field and futuristic, but there’s an indisputably great melody attached. It is expertly crafted, curated, and aesthetically dazzling; choreographed, extremely self-serious and self-absorbed; intellectualized, sonically adventurous, but often feels too rehearsed and neat. Its jazz-funk leanings and spliced-in samples create an enigmatic and fantasmic world in which Solange dazzles and shines.