Siza Master the art of inner monologue, translating deeply personal observations into golden songs that feel intimate, familiar and untouchable all at once. CTRLshe narrated these contradictions through a chirping melody that threw the structure of contemporary R&B and pop songs out the window, weaving her voice into, over, and through the beat. Joni Mitchell and its technical capabilities Minnie Riperton.
Having no conventional formula turned out to be the winning tackle. CTRL was Certified Triple Platinum This August reflects both its continued relevance and fans’ salivating despair for the follow-up five years later. Dropped 16 singles or collaborations, including black panther track”all the stars,” When kendrick lamar—In addition to an album’s worth of material by itself,A good day” When “shirt‘ She spent the summer of 2021 smothered in record-breaking cellophane candies.kiss me more,” When doja cat. she is filming a movieshe dropped some crocsShe taught herself to play the musical bowl. Like, damn.
the cover of SOS It depicts Siza, a former marine biology major, sitting on a diving board surrounded by deep blue waters, facing the sky in a meditative manner.she was inspired by 1997 photo Taken a week before Princess Diana’s death on Mohammed Al Fayed’s yacht. SOS, she feels like a world-worthy superwoman one minute and a melancholy second stringer who sacrifices her happiness for trash men the next. It counters millennia of bad-bitch/sad-girl dichotomy by filling the vast emotional space in between. The album opens with Morse code distress signals and a sample of Gabriel Hardeman’s delegation to his 1976 gospel exhortation.Till I find the Lord (my soul couldn’t rest), which leads her into a muscular piece of self-determination, singing about how she goes beyond simply ‘fuck shit’ in rap’s rhythm/breath control flex. This opening title her track kind of sets the theme for most of the album. Even in the midst of her self-doubt, she’s a belt-seeking heavyweight champion wearing gloves in the ring.
We already know that SZA’s dedication to her work is insatiable. Her longtime record Public with her label TDE and her label her partner RCA, she later wrote hundreds of songs. SOS, so narrowing it down to 23 is contextually an exercise in self-restraint. at the same time, SOS is a clear indication of how extensively SZA has honed her songwriting since her elaborate composition. CTRL, how she became an even more austere lyricist and imaginative musician.upon SOS, she grimaces with an instant-classic “fuck you” number (“I Hate U”) alongside a savage rap track (“Smokin on my Ex Pack”) that recalls the heyday of physical mixtapes. increase. A country song with a pop-punk chorus about revenge sex (“F2F”).This sometimes lands in the mushy middle — “Ghost in the Machine,” a collaboration with her breathlessly anticipated Phoebe Bridgers, found echoing the timbres of each other’s voices over glitch electronica with synthetic harps courtesy of frequent collaborators Rob Bissell and Carter Lang. And “Special,” a track about body dysmorphia, sounds like she’s writing from Swift’s persona, like Lucy.Joni,” and yet she falls off the pat a bit, sandwiched between compendiums of songs that richly portray the same sentiments.