After her commercial breakthrough with the fantastic A Seat At The Table, Solange is back with another great record. Like its predecessor, When I Get Home has a strong focus on the mellow instead of the bombastic, however, this time around the structure is quite different. Although A Seat At The Table was a strong project lyrically and musically, it was an album defined by the power of Solange's words, which were at the forefront of its conversation. Conversely, on When I Get Home, the lyrics are much less pointed and there is a significantly less amount of them. While there are moments like the wittily rapped "Binz" that offer instantly quotable soundbites ("dollars never show up on CP time"), this record finds its power in the fruitful marriage between the impressive instrumentation and the mantras of Solange's lovely voice. When I Get Home features Solange's compositional style diving even further into the funk-and-jazz-tinged Neo-Soul rabbit hole that previous tracks like "Weary" and "Junie" hinted at.
Without looking at the track times the nineteen song length may seem a bit overwhelming, but When I Get Home isn't a normally structured modern R&B record. There are no lengthy cuts here - none of the tracks reach four minutes. This brevity, combined with a notable use of repetition, may irk fans of the lyrical depth and more traditional format of A Seat At The Table. If that record was a calculated thesis, this one is the fun and occasionally hazy freestyle session of the party after submission. It's a much less immediately accessible album, however, the impeccable sequencing and sublime production can lead to the repeat button. In addition to tracks that seamlessly flow into each other ("Jerrod" to "Binz"), When I Get Home is tied together by one intermission and five interludes that set the tone by providing intriguing and sometimes humorous moments of transition.
The record begins with stunning beauty. The opener, "Things I Imagined", is defined by dazzling keys and a heartfelt melody that would make Stevie Wonder proud. Solange's cadence mesmerizingly shifts throughout the repetition of one line before her voice soars in the song's final moments. Another standout cut, "Way to the Show", has an addicting electro-funk that ends with flourishes of notes which would not sound out of place on a Herbie Hancock Headhunters album. This is followed by “Stay Flo”, a song with an infectious bouncy instrumental that pushes Solange to craft one of her most catchy tunes.
Listeners may be surprised to find out that rappers who are known for going over trap-bangers fit extremely well in the ethereal musical world of Solange. Playboy Carti can be found on "Almeda", a triumphant celebration of blackness that also happens to be the album's longest track at three minutes and fifty-six seconds. Carti's short lines and ad libs mesh perfectly with a beautiful collage of drums, keys and vocals. On "My Skin My Logo", a smooth bass line accompanies a nonchalant Solange as she dedicates her rapped verse to Gucci Mane, who returns the favor with a brief cameo right after. There is an interesting change of pace after Gucci leaves, with Solange returning to singing as keys and southern-rap ad-libs sound off around her.
With A Seat At The Table and When I Get Home, Solange has made a great case for herself for being the current mainstream leader of her particular corner of music. There is an undeniable influence of Neo-Soul greats like Erykah Badu, but at the same time she also brings in more bopping elements reminiscent of contemporary R&B icons such as Aaliyah. Her choice of collaborators is unconcerned with age or genre, with R&B veterans like Raphael Saadiq, young hip-hop artists like Tyler the Creator and mainstays of indie-psychedelia like Panda Bear all contributing to her vision. Despite the amount of collaborators here, there is an inviting simplicity to how When I Get Home is written which is always tastefully balanced by some of the most gorgeous and lush compositions Solange has ever sang over.
A Seat At The Table was dedicated to black people - black women specifically. Although When I Get Home, on its face at least, is much less detailed and blatant in its dedication, the singer is still paying tribute. With references to dreams, youth, car culture, southern hip hop and most obviously, the album title itself, Solange is clearly digging into her Houston upbringing. Her roots have yielded an album that works just as well in the background as it does with an attentive listen. Based on the high quality of When I Get Home, whatever Solange decides to immortalize next in her music is in great hands.
