Solange has been on a hot streak since 2012, I’m not kidding, that’s seven fucking years of fire material. The True EP? So fucking fire. Losing You, Some Things Never Seem To Fucking Work, Don’t Let Me Down are all untouchable songs. Her and Dev really put their foot into that project. Of course we all know the magnificent A Seat At The Table. This album is so hard and it was the one where people finally stopped sleeping on Solo and got hip. The album was filled with black empowerment songs and narration from Master P which makes so much sense. Rise, F.U.B.U, Borderline, & Scales are all sooooo fire. As you can tell I love Solange. Now Solo had been very quiet about this album. We thought it was coming late 2018, but that came and went and nothing. Then out the blue on March 1st she announced that the album was dropping that night! No singles, No build-up, nothing. And that shit is amazing, but what else did we expect?

Now, this album is riddled with interludes. I hate interludes, intros & outros that add nothing to the song. The Yes Lawd! album is a perfect examples of using all of those incorrectly. But with Solange album they flow thematically so you can’t put the album on shuffle or it’ll sound weird. Tyler does this, Bino & Earl too. I don’t care much for them, but they add another layer of storytelling to the album. That’s the only semi-negative thing about this album. Other than that this album is perfect front to back. The production was mainly handled by Solo, but Pharrell, Standing On the Corner, Tyler, Earl, Blood Orange, and even fucking Panda Bear all co-produced tracks on this album. Amazing.

This album sees Solo paying homage to Houston. Candy Paint Big Bodies, Screwtapes, the Almeda-area in Houston, and the TX-8 which is an interstate in Houston. It’s fire how Solange referenced a specific part of the Earth and it communicated well with international audiences and how it wasn’t forced and trash. Other topics include Solange basking in her financial status, still trying to accomplish her dreams, and different things that Gucci Mane likes. Which sounds like it would suck in any other circumstance, but Solange sleepily rapping different things Gucci likes over Steve Lacy playing the guitar just works somehow. The way she utilized the helping hands is so surprising. None of them are credited so the first time you hear fucking Carti on a Pharrell beat you’re blown away. Then you check the liner notes and see that Earl and Dev both produced on Dreams. This album is so great man I can’t believe this exists.

If me sucking this album’s dick didn’t convince you enough to listen to this then I need to stop writing. I cannot stress enough how good this album is.

Listen to When I Get Home here

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