Album Review: Solange - When I Get Home
After living in the shadow of her sister Beyoncé for so long, 2016 marked the year Solange Knowles discovered her own identity and finally released a stellar project: A Seat at the Table, one of the best neo-soul albums in recent memory. But where that record was a confidant, elegant expression of black pride supported from front to back by impeccable neo-soul production, When I Get Home is, for the most part, all flash and no substance. The clever lines and themes that made her distinct from the rest are nowhere to be found; in their place is left only ambiance, the occasional clever melody, and the unceasing sense that more should be happening.
The impressive production credits on this album (with names as varied as Pharrell, Metro Boomin, The Internet's Steve Lacy, and too many more to count) wrap this album from front to back in a similarly dreamy, R&B-heavy vibe that feels just as smooth and soulful as her last project, if a bit less rich in standout moments. Yet look beyond the neo-soul vibes and one will find very little being talked about; even considering how lyrically sparse this album is, Solange constantly feels as though she's stretching to fill time with pointless (and often annoying) repetition.
Down with the Clique is one of the worst offenders in this regard, an incredibly atmospheric track built around a intrusive and yet hypnotic piano hook that is nonetheless ruined by the pointless repetition of "Down with ya", stuttered and rehashed again and again until it becomes little more than pointless noise. Similar problems plague Time (Is), with the complex bass line and recurring contributions from Sampha held back by Solange endlessly repeating "You gotta know" in the second half of the track. There are still moments of clever lyricism on here; My Skin My Logo has some witty back-and-forth between Solange and Gucci Mane, and cuts like Dreams have empowering, positive themes within, despite the execution being somewhat basic. But these moments of quality are nowhere near prevalent enough, and as a whole, the album has very little to say.
The clever use of features on A Seat at the Table is another aspect of Solange's music less refined on this album; whereas that record's guests felt both distinct from the soulful production and in harmony with it simultaneously, here the difficult-to-discern contributions from Tyler, the Creator, The-Dream, and Earl Sweatshirt (among others) are much more reserved. Solange's voice is simply not powerful enough to carry most of these tracks on its own, and in the absence of outside help, the material here suffers for it. Even the more defined verses are less prominent, though that may be because Playboi Carti's high-pitched whine on Almeda cannot quite carry a song the same way Lil Wayne's timeless flow can.
It's not that When I Get Home is a poor record, even if it is a letdown in virtually all aspects compared to its predecessor. There is much to love here in the production, the carefully curated sounds of Solange and her guests, and the catchy (if simplistic) lyrical style. Perhaps after laying out her hopes and fears on A Seat at the Table, Solange felt like releasing something more relaxed, more accessible and easy to vibe with. You only get to hear so many amazing albums, and it's important to appreciate what ones you have. Still, knowing what she is capable of, it's hard to see Solange as anything other than a talent yet to fully capitalize on her opportunities.
6.5/10
Favourite Tracks: Stay Flo, Dreams, My Skin My Logo