Kill Bill

Artist: 
SZA
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Description: 

Emerging more than five years after her debut album Ctrl (and three years later than it was first announced) it’s been a long, odd wait for SZA’s second album SOS – to the point that over the past couple of years SZA seemed to even have a vague public spat online with Top Dawg record label boss Punch about getting it out there.

That’s a bad sign, right? Within forty-five seconds the first thought about this excellent album is the same as the concluding thought will be, an hour later: Solána Imani Rowe is a world class talent – one of the very best – and she’s not getting good enough service. Quite apart from all the horrible exes and bad shags and treacherous frenemies strewn across the songs, in real life SZA’s not being protected well enough by the business folks around her. And maybe the insecurity of that corporate failure is starting to poke through the surface of some otherwise phenomenal music.

It’s not like SZA vanished into the gap between albums. She’s not the Stone Roses. She has an Oscar nomination for her Kendrick Lamar collab ‘All The Stars’, from Black Panther. She’s guested on a pile of hits and kept the big singles coming, over the years. She’s done all the necessary social media teaser nonsense and fully embraced the hyperreal, ultra-branded expectations placed upon a modern pop superstar.

Then a month ago we got the blood-soaked body-swap psychodrama video for ‘Shirt’, co-starring LaKeith Stanfield. The song’s slow groove and aching, upswung melody belied the pace and high fantasy violence of the visuals. Even ‘Shirt’ had been long teased – fans got snippets of it online way back in 2021.

Now the album finally lands and it’s enormous. SOS is twenty-three tracks long and sonically it sprawls all over the hood. From low to high, clipped to soaring, SZA’s vocals are icily superb and her overwrought writing is vivid throughout. These progressive, ambitious melodies act like stitching to hold together the patchwork of an exceptionally diverse approach to genre and production. SOS hops around like mad. And in that context, with such an open-minded attitude to style and form, SZA deliberately – aggressively, even – forces herself into the chaotic centre, to become one of those backbone artists, whereby the music will pay service to her vision, not the other way around. It bodes well, because clearly she could sing just about anything.

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