SOLANGE KNOWLES, omg the return of

BAORDS OF CANADNA

and lol yeah we all know how well janelle monae turned out but uhh damn those songs there are kinda good still

haha ilm gravy train, all aboard

LIL WAYNE WHAT ARE THE CHANCES?

jamming to feist and lemon jelly
inspiration

Champage Chronic Night Cap is pretty good damn

i believe i once claimed on here that this ginuwine had a bit of the campfire headphases about it

another welcome observation from yours truly

actually that's still not as bad as me being on the verge of accusing birdman's new single of cold jacking global communication - '14:31' the other day

(SRSLY THO, I HEAR IT??)

come back tynan delong

your time bruv

the only song I can remember hearing by her was a really bad ballad on the Johnson Family Vacation soundtrack, but she co-wrote/co-produced the best song on the last Kelly Rowland album, so I'm kinda curious to hear more solo stuff now.

this heat... that heat... amirite?

co-did 'upgrade u' and 'get me bodied' on b-day also.

i think have an old bargain bin 12 of hers with slim thug somewhere? she sports a kind of rasta beanie on the cover, is all i recall.

wow just looked on allmusic and even andy 'positive' k hasn't got much good to say about that kelly rowland album

must i really stand alone with the lex on this :(

i am always so slow to hear the mya in things! but squint yr ears and really we could pretend 'champagne etc etc' was her triumphant comeback

'white picket fence' is also deeply reminiscent but i can't quite place it

galaxy glimpse

^^ ?

The new single is pretty cool.

http://www.youtube.com/watch?v=esVIk-aJNsg

I'm weirdly addicted to this tonight.

thats really good. surprising. better than estelle.

why is that so good?

solange sings? what?

cant find an mp3 for this anywhere though.

it reminds me of MIA

(something about the quick vox in the middle. i know it's a weird comparison just LET IT BE)

the neptunes produced this right?

solange>>>beyonce.

well if this song is any indication

solange>>>beyonce
Word.

Better quality video:
http://www.youtube.com/watch?v=8iblsi-himM

Yes, this was produced by The Neptunes. I can't wait to hear the BoC track(s).

saw the clip this afternoon. it's fantastic. then i saw the new madonna clip w pharrell. DA YUCK. god what a load of crap.

the "i decided" video is like tailor-made for me and my interests/preferred aesthetic. i have to turn the tv up all the way when it comes on.

this year is shaping up to be pretty amazing... new amerykah, janelle monae, solange, jazmine sullivan, etc.

Select members of the press and other industry VIPs gathered at Record Plant Studios in Hollywood to hear Solange Knowles’ sophomore album SoL-AngeL and The Hadley St. Dreams. Solange’s father/manager Mathew Knowles previewed 14 tracks off the singer/songwriter’s LP, which he says is 95% final. The soul/pop album combines elements of Motown with electronic music, channeling Amy Winehouse, Gnarls Barkley, and even Björk.

The 21-year-old worked with producers such as The Neptunes, Mark Ronson (Amy Winehouse, Lily Allen), Jack Splash (Alicia Keys, John Legend), and Gnarls’ Cee-Lo Green. Guests include Lil Wayne, Q-Tip, Bilal, and Floetry’s Marsha Ambrosia. Mr. Knowles revealed that a Duffy collaboration with Raphael Saadiq is in the works and that Estelle demoed a song for the album, but it didn’t make it.

While the music is very different from anything out of the Destiny’s Child camp, Knowles is “hopeful that this can become mainstream,” yet admits that it’s going to be “hard work.” Geffen and Music World are aiming at the “intellectual, backpacking, coffee shop, digital kid.” Where Beyoncé wants her vocals perfect, Solange wants them raw. As fans will hear on August 26th, Beyoncé’s lil’ sis is in a league of her own.

1. “God Given Name”
Produced by Soulshock & Karlin
Solange and Beyoncé’s favorite song on the album. On the melodic track, Solange sings: “I’m not becoming expectations, I’m not her and never will be.”

2. “6 O’Clock Blues”
Produced by Mark Ronson
This throwback has a ’60’s groove. The uplifting track features drums and recalls Amy Winehouse. Solange sings about being happy as long as she has her man. “If my house falls down in the river, as long as we got each other, we can overcome the madness of the world.”

3. “I Decided (Part I)”
Produced by The Neptunes
The first single with a killer video directed by Melina. Part I of the song was directed by The Neptunes and co-written by Cee-Lo. Part II is the Freemasons remix released in the U.K. There is a video for that too which is similar to the Part I video.

4. “Sandcastle Disco” featuring Q-Tip
Produced by Soulshock & Karlin
The second single off the album, which will feature Q-Tip. A video will be shot within the next month. Cee-Lo co-wrote the song with Solange. Upbeat, summertime jam: “I’m a cool ol’ Jane with a skip on my feet, I play tough as nails with my heart on my sleeve, I’m nothing but a sandcastle, baby don’t blow me away.”

5. “T.O.N.Y.”
Produced by Jack Splash
Stands for “The Other Night Why (Did I Do That?)” Possible third single co-written by Cee-Lo. Uptempo song reminiscent of The Spinners’ “I’ll Be Around” with a guitar riff. Solange hopes it will be an anthem for ladies who made the mistake of sleeping with a guy too soon in the relationship. “T.O.N.Y. don’t call me no more, no not at all no more, I’m not in a rush to feel rejected.”

6. “I Told You So”
Produced by Shea Taylor
Soulful number where Solange sings, “And so I’m writing this song for the day I see I’m right, I’ll play this record, while I cry and I say, I told you so.” Sounds like a song you might hear on a Beyoncé album.

7. “IWouldveBeenthe1″
Produced by Jack Splash
This was not played at the listening.

8. “An Ode to Marvin”
Produced by Jack Splash
Goes back to the Motown era, similar to Marvin Gaye’s “What’s Going On.” Mathew Knowles told a story of how he would sing Smokey Robinson’s “Here I Go Again” when Tina Knowles was pregnant with Beyoncé and Solange. “They get their perfect pitch from their father,” he joked. The song opens with, “This song is for my people, I wanna know where we going, cuz I’m right beside you.”

9. “ShampagneChroniKnightCap” featuring Lil Wayne
Produced by Bama Boyz
The hard-knocking, psychedelic track has a trippy effect. It’s one of Mathew’s favorites and features a rap from Wayne that’s just as weird as the song itself.

10. “Valentine’s Day”
Produced by Bama Boyz
The only ballad on the album, but it still manages to be upbeat. Solange sings about how she met her boyfriend and hoped the relationship would last until Valentine’s Day. “You know what kind of gifts I give my baby,” Solange sang before Mathew cut off the track. “Daddy can’t play the rest of that,” he laughed.

11. “Cosmic Journey” featuring Bilal
Produced by Soulshock & Karlin
This song sounds just like its title. It features breathy, echoey vocals and gives off an outer space vibe. Bilal sings, “Far into the night you and I don’t look back and you’ll find me.” Halfway through the song it gets faster like a spaceship taking off, turning into trance, techno, house music. Solange ends with “I want to go high, so high.”

12. “This Bird”
Samples Boards of Canada’s “Slow This Bird Down”
The futuristic, electronic track has a pulsing groove. Toward the end, it almost sounds like a country song. “I’m not going to slow this bird down, I don’t wanna look life in the eye.” Solange closes with a high note.

13. “White Picket Dreams”
Produced by Shea Taylor
Mathew says Solange is trying to “build her own identity” in a successful family and that’s what this song is about. “It’s possible we all want a dream that’s so far away and my white picket dreams are home enough,” she sings.

14. “Wanna Go Back” featuring Marsha Ambrosia and Q-Tip
Produced by Brian “Allday” Miller
Marsha of Floetry sings background vocals and Q-Tip raps: “We’re not far away, we right here.” The Big Band cut features live instruments and has a jazz sound. It’s Mathew’s favorite song musically. “Beautiful journey, how long will it last, yesterday’s calling, calling from the past, just can’t stay away too close, yesterday’s gone,” Solange sings. A beautiful journey indeed.

oh shit

fuck you ILM for making me want to hear a Solange album

hmmmm, maybe I will check this out

haha dp

1. “God Given Name”
Produced by Soulshock & Karlin
Solange and Beyoncé’s favorite song on the album. On the melodic track, Solange sings: “I’m not becoming expectations, I’m not her and never will be.” LOL at this. white Beyonce is so full of shit.
Does this make Solange the black Beyonce now? I'm actually looking forward to this. I've only heard Sandcastle but its really hype.

freemasons remix of 'i decided' is so so good

http://www.youtube.com/watch?v=8iblsi-himM&feature=related
Here's the vid? Too retro? I think its quite cute...

freemasons remix of 'i decided' is so so good

NAH-UH

fits og w/ lead boots, surgically removes nimbleness & fun. not good. for popjustice type gayers only.

i don't want q-tip on lovely lovely 'sandcastle disco' but other than that, hoo boy ANTICIPATING THIS.

wtf @ changed spelling of 'champagnechronicnightcap'

hmmm i wanna hear this now.

Part II is the Freemasons remix released in the U.K

NOOOOOOO

i was actually emailing her pr dude really pointedly the other day about how i loved the ORIGINAL 'i decided' but that the rmx was lame. BOO to this country's shitty taste in music

solange was the black beyonce all along....

isn't removing the nimbleness and turning it into a stomping house anthem what the freemasons are all about

hey lex, do the pr emails ever work?

well they often get me CDs and interviews but not so much a say in what singles get released

isn't removing the nimbleness and turning it into a stomping house anthem what the freemasons are all about

yeah but they forgot the "stomping house anthem" bit here, it's just clunky glommed-on glam. plus their best remixes have been of songs which weren't exactly subtle to start with so it was just kind of shifting the scenery. cuz beyonce and kelly were hollering already, yeah? so they hold their own. idk when i hear the og 'i decided' i can imagine solange prancing delightfully around in a great gatsby jazz era dress and flapper hair, and the freemasons just go stomp stomp stomp all over her.

yeah cute video

For a moment, I thought this was a thread about Sonny Knowles.

can i just say, in my absence, that i do not approve of how this project turned out one bit. might i also take the time to add that lex is doing some sterling weasling here wrt splitting hairs between "popjustice type gayers" and "great gatsby jazz era dress and flapper hair" prohibition party media tit gayers - they are the same twee indie fuxx, equally likely to drop the same noxious "solange > beyonce" clangers, the one subtle distinction being that i have a shameless predeliction for banging chicks of the latter grouping. ahem.

no doubt lex will at the same time maintain that your sundry adeles and duffys and cilmis are the very bane of modernity, as if they were any different to this conceited guff.

you and your endless hateration have been sorely missed. (seriously).

are you on a break from ilx or something

saying 'there's nothing as transcendent as "Cranes in the Sky" here' imo sells a seat at the table severely short, as if that was the uniquely compelling/memorable SONG from that album, which was actually full of great ones. perhaps my impression will change, especially if i get to see the companion film at some point, but for now i'm afraid this new one will end up being one i can easily respect but will struggle to actually enjoy. like, a seat at the table was not just a bunch of art installations threaded together with interludes. it had songs: actual 'Lyrics and Melodies'. it was more than just thoughtfully produced melodic meandering.

The thing about the amorphous nature of When I Get Home is that you're getting a glimpse into Solange’s swirling consciousness, one that has shed any regard and obligation towards traditional structure and therefore, exists freely and confidently. It is indeed one long song, and that's what makes it great.

but you can say that about any album

Could you say that about The Beths’ record?

I want a glimpse into a swirling consciousness in shapes and forms. I liked a quarter of ASATT as songs; the rest were amiable "atmospheres" in the Eno vain but with lyrical tags. This one after a couple plays is worse. Do I want to get to the point where I have to listen to an album a dozen times if the first eleven don't trigger a positive response? I understand the resistance to first-take culture, but with Solange there's too much benefit of the doubt going on. On the evidence she's an intermittently poignant melodist with a decent instinct for the billboard title/lyric.

If the album isn't revealing itself after a few plays, maybe the problem is the album...?

I've wrong about albums all the time! I love Decembers because I catch up on albums that I missed the first time, and I overrate stuff all the time. But I don't get listening to an album and thinking, as I've seen fans on Twitter post, "I'm going to listen to this album ALL weekend and wait until it reveals itself as a masterpiece."

I agree it's best to just go with the flow and to trust an organic process.

aren't all albums recorded in accordance with an organic process?

but you can say that about any album

― Let's have sensible centrist armageddon (Alfred, Lord Sotosyn), Sunday, March 3, 2019 12:13 PM (twelve minutes ago) Bookmark Flag Post Permalink

I don't think you can. It feels like there's an intention here -- whether it was conscious or subconscious -- for the shape and songwriting of these songs flowing into each other and coming together to reflect a specific kind of expression of her identity, and that's just as valid as a set of songs where the inherent structure hits certain beats that we've all become conditioned to.

there's a lot of tastemaker baiting in these credits -- can anyone actually make out cassie's voice on "way to the show" -- but the-dream over panda bear is pretty inspired

xp I don't know enough about music recording to be certain of that. I know it is not the case with lots of films, attempts at pleasing specific taste is often baked into the process from day one.

I think it's fine to admit you are not into Solange's music! Acting like an archaeologist discovering the masterpiece beneath the sand is just showing wokeness on social media. It's either there for you or it isn't.

i think this album is really dope

Yeah same.

This is a fantastic record, and it's absolutely uncompromising, but it's not a monolith. It's not even posing a challenge -- Solange is simply asking you if you can vibe with her, and if you can't, then maybe you just can't, and where do you go after that?

Solange’s swirling consciousness, one that has shed any regard and obligation towards traditional structure and therefore, exists freely and confidently

there has never existed a single person whose consciousness could ever, at any point in time, however brief, be accurately described this way. as you actually point out in your followup post, behind virtually any potent push against the confines of imposed structure is intention -- by definition conscious. when it's not, it's what is dubiously labeled 'outsider art'. and this is not that -- as has been pointed out already to support unrelated points, the work's credits are full of phrasings and curated guest contributions that seem designed to perk up the ears of the tastemaker crowd and to position its creator in a manner favorable to that crowd: as an Artist, even an Auteur, fully capable of cobbling together the disparate contributions of true Talents in service of her own, and above all her focused (yet deliberately unfocused?) Vision.

basically, i'm just not hearing what y'all are hearing. i thought defending a work's inaccessibility as quietly virtuous was for rockists but here we all are.

i'll give you that it is certainly an invitation to an experience or feeling, but that's what literally all art is.

My Reasons For Not Getting This Solange Record Are Fundamental And Philosophical

I guess I just don't really see how this album is 'inaccessible.' Sure, most of the songs are short. (???)

'Way to the Show,' 'Dreams,' 'Binz,' and 'Sound of Rain' seem very melodic to me!

Sure, maybe there aren't as many tracks that involve a whole lot of vocal jumping jacks -- but then there's 'My Skin My Logo' which slowly builds up from a quiet rumble to that heavenly climax.

This is a fantastic record, and it's absolutely uncompromising, but it's not a monolith. It's not even posing a challenge -- Solange is simply asking you if you can vibe with her, and if you can't, then maybe you just can't, and where do you go after that?

― josh winters (josh), Sunday, March 3, 2019 3:46 PM

Lunch?

Only if you’re paying

Negronis for everyone!

This feels like a particularly bad album to try to power through one's non-interest. I quite like it, but I think I was primed for it by listening to a bunch of sub-two-minute tracks while figuring out nominations for Karl's poll. Thinking about it with that in mind, I want to compare it to Just Another Diamond Day or Donuts, which also have lots of doubters--or lol maybe it's her GBV album

i love short tracks. i love longform, coherent works with amorphous structure. but so far i don't love this longform work or its short tracks.

is the companion film going to be an apple music exclusive indefinitely? (that also reminds me i still have yet to hear frank ocean's endless in full, tho judging from what i heard of it i would probably prefer it to this)

It’s interesting to me how it’s only certain albums these days that people feel the need to give 10 listens to force themselves to enjoy. Like, no one was telling everyone to listen to the last, Decemberists album 15 times before judging.

I think it’s because there’s a careful curation of the image of A Verified Genius that has happened with Solange and a few others. This image of this on-another-plane, mystical, spiritual, artistically pure outsider with insights that no one else could possibly have. People have bought into it a little too unquestioningly. There’s this sense surrounding her that if you don’t GET IT you’re at best uncool and worst, racist.

The songs here are just...not very interesting songs.

strawman all you like, it's just that her last record was really fucking good and this one less immediately so, therefore I cut her a little slack and listen to it a while before dismissing it. The hot take is not the only take.

Like, no one was telling everyone to listen to the last, Decemberists album 15 times before judging.

why are you recommending mass ptomaine poisoning?

Creating a binary in which black R&B woman gets press vs white indie rock band isn't uh the way to even if you think Solange's album is no good.

yeah seriously omg

I don't think anyone who doesn't vibe on Solange's new record is uncool but I am starting to question this need to justify not liking an album over and over. You don't like a record it's cool if you feel forced to like any record it's between you and your conscience.

These tracks are built on cool grooves, but they feel static and repetitious in a way that def. does not jibe with my taste.

seems like repetition was a part of what she was going for

see bithfrk interview Steve riech etc

I’m sure it was, it’s just Not For Me

I tried to listen to this this morning but turned it off after a couple tracks to listen to Ghost

I couldn't even finish this tbh, it just felt so inconsequential, and her voice which I normally think is the best part of her music didn't seem to be doing anything dynamic or interesting. It's a nice enough vibe I guess but simply turning up and being Solange really isn't enough

uh oh I am starting to really enjoy this

my fav thing about seat was the piano/keys, so jazzy and plinky and not the usual neo-soul deep chords. my least fav was all the talking. haven’t listened to the new one yet but im hoping for more of the same keys and less talking

you got it

this album reminds me of the last thundercat album

thought the last thundercat album was dogshit

but pretty sure i like this

ya this is dope, i think i like it just as much if not more than a seat at the table

brad otm on both counts

i don’t hear hookless art installation at all, just sounds like a good r&b album

"sound of rain" fucking floors me every time. i segued it out of "sweet thing (reprise)" on my radio show yesterday and man o man

rappers turned out fun laconic verses for this

I miss when she made songs like “sandcastle disco”

I like this, but it seems very evanescent on the first several listens

maybe I will love it in a few years

why did she reissue sol-angel a few years ago without "sandcastle disco"?

On Sept 16th and 17th Grammy Award-winning singer/songwriter and visual artist Solange Knowles presented Witness!, an original performance piece featuring new musical works composed, directed and choreographed by Solange Knowles at the Elbphilharmonie Hamburg in Germany accompanied by a 38 piece orchestra and dance ensemble. With support from Dropbox, the performances were presented by the artist within the architectural marvel that is Elbphilharmonie's world-class concert hall, one of the most acoustically advanced in the world.

“Performing at the Elbphilharmonie was a very gracious and special moment I’ll hold close forever. To hear and see these compositions and choreography come to life on that scale, and with such a divine ensemble will be such a lasting memory to carry on.” - Solange

The performance piece debuted 6 new musical works composed by the artist featuring an ensemble of Tubas, Trumpets, Cellist, Violinist, and Percussionist as well as highly featuring new compositions of songs from her ode to Houston, the When I Get Home (2019) album.

https://gal-dem.com/why-solange-matters-book-extract-stephanie-phillips-indie-microaggressions/

https://www.harpersbazaar.com/culture/art-books-music/a46683528/solange-knowles-interview-2024/

Interesting Interview and photo spread.