24 C
Athens
Παρασκευή, 4 Οκτωβρίου, 2024
ΑρχικήEnglish EditionCulture"SOS" by SZA: The art of turning the inner private monologues into...

“SOS” by SZA: The art of turning the inner private monologues into glittering songs


By Socratis Santik Oglou,

SZA has mastered the technique of the inner monologue, turning her private views into glittering songs that simultaneously feel close-knit, sympathetic, and untouchable. On her remarkable debut album, “CTRL”, she narrated these contradictions through warbled melodies that disregarded contemporary R&B and pop song structure, letting her voice weave in, over, and through the beats in a manner that was reminiscent of Joni Mitchell’s jazzy structure and Minnie Riperton’s technical prowess.

The fact that “CTRL” was certified triple platinum in August, reflecting both its continued relevance and fans’ salivatory need for a follow-up five years later, proved that not having a typical formula was a successful strategy. She has released 16 songs or collaborations since then — including the Oscar-nominated Black Panther song “All the Stars” with Kendrick Lamar — as well as a few incredibly acidic music videos like “Good Days” and “Shirt.” Of course, she has been busy. Her record-breaking duet with Doja Cat, “Kiss Me More,” put the summer of 2021 in her hands.

SZA, a former marine biology major, is shown on the cover of “SOS” sitting on a diving board in the middle of a deep blue ocean with her head cocked in thought. She claimed that a 1997 image of Princess Diana aboard Mohamed Al Fayed’s boat, shot only one week before she passed away, served as inspiration and that she wanted to honor the “isolation” it suggested. On “SOS”, she alternates between feeling like a superwoman who deserves the entire world and a depressed second-stringer, who sacrifices her well-being for jerks. By bridging the enormous emotional gap between, she breaks the millennial Bad Bitch/Sad Girl dichotomy.

SZA for Billboard. Image source: billboard.com

She sings in a rap cadence and breath-control flex about how she’s simply over the “f*ckshit” as the album opens with a Morse code distress call and a sample of the Gabriel Hardeman Delegation’s gospel anthem “Until I Found the Lord (My Soul Couldn’t Rest),” which launches her into a powerful opus of self-determination. This album’s opening title tune establishes a sort of thesis: despite self-doubt, she is gloved up, in the ring, and pursuing the belt like a heavyweight champion.

After just one listen, “SOS” is prompting many critics to revisit their previously published top 10 lists in an attempt to update them. This is due to the album’s ebb-and-flow rush of voices, waters, brass, Morse-code tics, and coconut-clunk percussion that fills its opening title track. This is also due to the flexed funk finale of “Forgiveness,” which includes an Ol’ Dirty Bastard sample. Imagine what will happen when we get the opportunity to truly savour all of its subtleties and textures.

From there, and throughout “SOS,” her intuitive sing-rapping cadence and impromptu, jazzy flow portray her as both insulated and outgoing, withdrawn and looking for resolve (be it love, inner harmony or conflict), but battle-ready. And definitely with a sense of humor, too. “I’m so mature, I’m so mature,” she croons through the detuned, whistling, breezy pop of “Kill Bill,” before reaching the shores of impending doom and a chorus of “If I can’t have you, no one will / I might kill my ex, not the best idea… / I might kill my ex, I still love him, though / Rather be in jail than alone.”

SZA in her new music video clip for the song “Nobody Gets Me”. Image source: rollingstones.com

“Seek & Destroy’s” willowy R&B is at least as menacing as it is absolutely romantic. But that doesn’t mean SZA isn’t consumed by and possessed by pure romance. SZA cannot help but make “Snooze,” an old-school, dewy love tune that Babyface classicist Babyface produced and co-wrote with the Rascals and BLK, baleful with the pitch-shifting line “How you threatening to leave while I’m the main one crying?” When manipulating the swelling, melancholic R&B of “Far,” the slick, clattering soul of “Too Late,” and the warm, Steely Dan-like ballad “Gone Girl,” SZA’s tears-acted out in multiple craggy, wounded, and happy voices—give way to sheer happiness or agitation. When she sings “Love Language” (including a violin solo) or the ethereal, AutoTune-tinged “Low,” her crystal-clear voice makes stressed-out affection chilly and turns sensuality into a weapon.

Travis Scott becomes the ballad’s low-voiced center on “Open Arms,” but the song’s sparse, guitar-plucked melody allows her soft voice and its chord alterations to ascend in a grand and stunning way. With Texan vocalist Don Toliver, SZA’s sensuous performance of “Used” matches goodbyes with swinging blues. Phoebe Bridgers and the other woman’s distinctive dulcet tones harmonize in a Moebius strip-like manner on the subdued, bass-and-banjo-plucked “Ghost in the Machine.” It’s typical for “SOS” that a song as peaceful and serene as “F2F,” a snappy co-write with Lizzo, is interrupted by buzzing rock-like guitars, followed by an epically beautiful, folksy country ballad like “Nobody Gets Me.”

“SOS” is a record designed to be listened in its whole, despite the fact that there are a few singable potential singles that stand out, such as “Shirt” and uniquely infectious pieces like “Conceited.” Without a doubt, it would have been captivating if it were twice as long. Her music and persona have inspired such love in people precisely because of that peculiar blend of self-assurance and pettiness. Although SZA has extraordinary talent, you might also know someone who has some of it. Perhaps even you.


References
  • SOS, pitchfork.com, Available here
  • SZA’s Out for Blood and Big Moods on ‘SOS’, rollingstone.com, Available here
  • SZA Sends Out an ‘SOS’ That Will Be an Emergency Addition to Everyone’s 10-Best Lists: Album Review, variety.com, Available here

     

TA ΤΕΛΕΥΤΑΙΑ ΑΡΘΡΑ

Socratis Santik Oglou
Socratis Santik Oglou
Born and raised in Greece, he studies Communication, Media & Culture, with a specialty at Cultural Management. He loves art, architecture, and films. In life, he has not settled down yet, but he is open to what life brings.