SOLANGE KNOWLES, omg the return of

maybe it really is? Are there any breaks between the tracks?

viewing this in the context of her post-seat at the table artistic pursuits i can see where she was going... it feels very much inspired by her foray into installations etc to me. it's much easier to imagine this album being performed in a non-traditional space than a concert venue

i like it the more i listen to it... i think there's enough moments where my ears really perk up that i can accept the album on its own terms from a structural POV. i do hope she loosens up for her next record tho & doesn't get wholly swallowed up by art world pretentiousness

also sonically it's of a thread w a seat at the table... it feels like the other side of the coin, exploring the same themes & sounds but burrowing more inward

so in that sense i sorta dig it too even if there's only like... 2 "songs" i can even really remember

don't touch my snare

There are a lot of 2-in-1 tracks where it switches to a very different thing near the end, which really helps blur the line between the tracks.

i do hope she loosens up for her next record tho & doesn't get wholly swallowed up by art world pretentiousness

Really, this record seems defined by looseness! Who knows how much writing and re-writing it took, but it certainly has the feel of jamming over loops a lot of time. I think shooting for hits & hooks would be the opposite.

I do hope that this is a grower though, in terms of individual songs.

yeah i guess by looser i just mean more limber

This is so groovy!

that's a first!

I think I might prefer this to ASATT.

It's pretty good.

it's much easier to imagine this album being performed in a non-traditional space than a concert venue

or as an album/film:

https://pitchfork.com/news/solange-releasing-new-when-i-get-home-film-tonight/

Might be a grower but my first listen (on a train, admittedly) left not a huge impression other than that the first track was frustrating and irritating. INterested in the film though.

I have to admit that it might seem a bit back loaded on the first few listens.

yeah I think that's right. some of the earlier tracks sound like KING demos

I have to say that I respect the fact she didn't call this a mixtape

I like this but "Things I Imagined" sounds like a Bill Wurtz YouTube

hahaha so true. not necessarily a bad thing...

Based a single listen, I'm not sure I like the end result better than ASATT but I love what she's aiming for.

the very low-key nature of this and way it blends a lot of short tracks into a whole means i doubt i'll end up liking this more than ASATT, but i fully expect it to grow on me a lot - and i like it a fair bit to begin with. ASATT is firmly one of my favourites this decade now but it took a long time to really open up for me

Things I Imagined is totally annoying, wish it wasn't how the album opened.

will give the album another run today.

I think I may like this one better despite its lack of hooks. I just enjoy being in this vibe.

Huh, I loved Things I Imagined first time I heard it. The keys in it are nice

It's nice, more of an intro than a full song.

Just like A Seat At The Table this has taken three/four listens to really click with me after a slow start. All these little bursts of awesome synths and cool little Stevie styled grooves are really addictive. There are moments that even give me New Amerykah vibes. The production is just insane overall. A great headphones listen.

Def a New Amerykah thing going on plus short songs prob a sign of Tierra Whack listening.

is that really The-Dream singing on "Binz"?

“Things I Imagined”
All Lyrics and Melodies Written by Solange Knowles
Produced by Solange Knowles, Chassol & John Key
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“S McGregor (interlude)”
Written by Solange Knowles, Giovanni Cortez (Standing on the Corner), John Key
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Solange Knowles, John Key & Standing on the Corner
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Sample Debbie Allen and Phylicia Rashad (Who are from Solange’s neighborhood of Third Ward)

“Down With the Clique”
All Lyrics and Melodies Written by Solange Knowles
Produced by Solange Knowles, John Carroll Kirby & John Key
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals and Keys: Tyler, the Creator
Outro Produced by Standing on the Corner
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Way to the Show”
All Lyrics and Melodies Written by Solange Knowles
Produced by John Key, Solange Knowles & John Carroll Kirby
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals: Cassie
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Can I Hold the Mic (interlude)”
Written by Solange Knowles and Chassol
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Solange Knowles, Chassol
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Additional keys: John Key
Sample Diamond and Princess from Crime Mob

“Stay Flo”
All Lyrics and Melodies Written by Solange Knowles
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Solange Knowles, Metro Boomin, John Carroll Kirby
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Bass: Peter Lee Johnson

“Dreams”
All Lyrics and Melodies Written by Solange Knowles
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Solange Knowles, Chassol, Jamire Williams, Dev Hynes, John Key
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Outro produced by Earl Sweatshirt
Additional Vocals by Devin The Dude
Additional Bass: Raphael Saadiq
Moog: John Carroll Kirby

“Nothing Without Intention (interlude)”
Written by Solange Knowles, Julez Smith, II, Giovanni Cortez (Standing on the Corner), Amber Venerable, Raquel Egbuonu
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Standing on the Corner, Solange Knowles, Daniel Julez J Smith II
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Almeda”
All Lyrics and Melodies Written by Solange Knowles, The Dream & Playboi Carti
Guest appearance by Playboi Carti
Produced by Solange, Pharrell & John Carroll Kirby
Additional Vocals: Metro Boomin
Published by Kirby Kirbstein Publishing (ASCAP) EMI April Music Inc. / Solange MW Publishing (ASCAP) WB MUSIC CORP. (ASCAP) OBO ITSELF AND 2082 MUSIC PUBLISHING (ASCAP) / Cash Carti Music (ASCAP) EMI Pop Music Publishing / More Water From Nazareth (GMR)
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Time (is)”
Lyrics and Melodies Written by Solange Knowles
Guest Appearance by Sampha
Guest Lyrics and Melodies Written by Sampha
Produced by Solange Knowles, John Key & John Carroll Kirby
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals: Tyler the Creator, Panda Bear & Sampha
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“My Skin My Logo”
Lyrics and Melodies Written by Solange Knowles
Guest Appearance by Gucci Mane
Guest Lyrics and Melodies Written by Gucci Mane
Produced by Solange Knowles, Jamire Williams, John Key, Tyler the Creator, Steve Lacy & John Carroll Kirby
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP) Sony/ATV Songs LLC / Gold Wang Steak Sauce (BMI)
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“We Deal With the Freak’n (intermission)”
Produced by Solange Knowles
Written by Solange Knowles
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Sample Alexyss K Tylor

“Jerrod”
All Lyrics and Melodies Written by Solange Knowles
Produced by Solange Knowles, John Key & John Carroll Kirby
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Binz”
All Lyrics and Melodies Written by Solange Knowles and The-Dream
Produced by Solange Knowles, Panda Bear & John Key
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals: The-Dream
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Beltway”
All Lyrics and Melodies Written by Solange Knowles
Produced by Solange Knowles & John Carroll Kirby
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals: Panda Bear
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ
Sample Poet Parker (Also from Solange’s neighborhood of 3ward)

“Exit Scott (interlude)”
Written & Produced by Standing on the Corner, Steve Lacy, John Key & Solange Knowles
Vocals by Scarface
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Sound Of Rain”
All Lyrics and Melodies Written by Solange Knowles
Produced by Solange Knowles, Pharrell & John Key
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Additional Vocals: Abra & Steve Lacy
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“Not Screwed! (interlude)”
Produced by Standing on the Corner
Written by Giovanni Cortez (Standing on the Corner), Scarface, Solange Knowles
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Guest Appearance by Standing on the Corner
Additional Vocals: Scarface
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

“I’m a Witness”
All Lyrics and Melodies Written by Solange Knowles
Published by EMI April Music Inc. / Solange MW Publishing (ASCAP)
Produced by Solange Knowles & John Key
Additional Vocals by Panda Bear
Mixed by Mikaelin “Blue” Bluespruce @ Lounge Studios, NY, NY
Mastered by Joe Laporta @ Sterling Sound, Edgewater, NJ

tl;dr

the question of the-dream’s involvement will have to be left to the historians of tomorrow

ctrl-f

Why say “All Lyrics and Melodies Written by...” (as opposed to just “Written By”)?

OK, I see — some tracks have “Guest Lyrics and Melodies Written by...”

Never seen that before

yeah I know he's credited, that's why I asked. I never listened to him very much, but that voice doesn't sound like what I would have expected based on my admittedly limited memory (it sounds like Kali Uchis tbrr).

she and Dev Hynes had a falling out a few years back about the credits for "Losing You"

might have something to do with it

Yeah I wondered if it’s some negotiated thing where the writers of the “Guest Melodies and Lyrics” don’t receive a full piece of the songwriting credit, as they would if they were credited as co-writers in the usual way

The-Dream does the "sundown, wind chimes" bit on "Binz" anyway

he's actually more clearly identifiable on "Almeda" where he gets a lyrics and melodies credit but doesn't get an additional vocals by credit

¯\_(ツ)_/¯

I'm willing to believe. anyway Binz rules, big up Panda Bear

ctrl-f

i was making a funny joke

so was I...

"she and Dev Hynes had a falling out a few years back about the credits for "Losing You""

I thought they'd patched that up; he did produce one song on this album.

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