Solange Pulls A Beyoncé

ICYMI, at midnight Solange dropped her fourth studio collection When I Get Home – a 19-track venture that sees her team up with any semblance of Sampha, Tyler the Creator, Dev Hynes, and that's just the beginning. 

Prior to the collection's discharge, Knowles dropped some accompanying visual material on Black Planet, that sees her in various reasonable looks (counting file Mugler) – blending Afrofuturism with the dark cattle rustler stylish. For her collection spread however – shot by picture taker Max Hirschberger – the vocalist seems wearing nothing other than an insignificant eyelid hood? Browbone bar? 

Made by planner Keren Wolf, the piece initially showed up at Galia Lahav's AW18 Haute Couture gathering, where gem face pens, and eyebrow covers likewise showed up. Other than presenting a solid defense for eye-zone gems, Wolf has additionally worked together with Marc Jacobs on his SS19 gathering – making mouthpieces that wound out of models' lips. Somewhere else, she made a crown for Nicki Minaj's World Queen take over. 

Visionary

Solange's adoration for her house is available all through the record, in the woozy "Almeda", where words spill out like molasses while the beat bumbles behind, and in "My Skin My Logo", where she exchanges fun riffs with Gucci Mane like they're freestyling on a screw tape.

Seeing milestones in the city like the Rothko Chapel, the midtown horizon, and the Third Ward neighborhood that Solange grew up fill in as the scenery in the video for the collection. The hints of When I Get Home, with its blasting bass and hindered pace, even in the Panda Bear creation and reggae songs of "Binz", draw from the historical backdrop of the city in a manner that goes past praise and homage.

Elusion

Intended to pass by abruptly, sections of thoughts shape and vanish continually, seldom enduring longer than a moment or two. This prompts a confusing impact, like late collections by Tierra Whack and Earl Sweatshirt, the last contributing creation to the outro of "Dreams" that packs a confounding measure of songs and beats into a minimized discharge. This structure serves the collection well, with Solange fleshing out every thought and giving simply enough an ideal opportunity for the snare to rise before coasting to the following, her own beat tape that offers a brief look at different styles that she unites. “I can’t be a singular expression of myself, there’s too many parts, too many spaces, too many manifestations,” she states on break “Can I Hold the Mic”, naming the objective of a collection that never subsides into a solitary notch yet digs into its horde of impacts.

This methodology is important to make this magnum opus, yet when "Almeda", the collection's longest melody, is permitted space to inhale and extend, it brings about a reasonable champion. With an aspiration to flaunt the melodic standards of Houston while setting up herself as a piece of that heritage, which incorporates DJ Screw, The Geto Boys, UGK, and Slim Thug, Solange arrives at more profound than Travis Scott's Astroworld to typify that sound instead of copy it.

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