SZA - SOS

Well, here we are. The dead-end of 2022 with barely more than a whisper left and what I thought would be a fairly unsurprising end. Since starting this newsletter I've tried to keep an eye on upcoming releases to try and map out my article life for the coming months, and while SZA has been dropping new tracks like Reese’s Pieces luring us into her closet like we're a lovable Extraterrestrial, the exact release date of the full album was a bit of a mystery. I had the rest of the year mapped out, written up and my artwork designed, then, with an apt title, SOS, dropped and after my first listen I knew, I was going to have to do some extra work.

I'll share a bit of my SZA history first. I came across her when most of her releases were on SoundCloud. I was still in the midst of a 6 month unemployment stretch and spending my time writing, looking for paying jobs and listening to all the new artists I could find. SZA was an instant charmer with her alternative flair and quirky, personal lyrics and her ability to pull features from the likes of Chance the Rapper and Kendrick Lamar. From that moment I was paying full attention.

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Once she released her official debut, CTRL, and I knew she was serious. It was an astonishing release that showed the world was ready for the unparalleled honesty partnered and her undeniably singular voice. CTRL was an instant ‘star-maker’ release. SZA showed competence as a song writer, more assured vocals than her SoundCloud days, and some of the catchiest hooks of the year (see tracks ‘Drew Barrymore’, ‘The Weekend,’ and ‘Go Gina.’) It was one of those debuts where I thought to myself, if she can sustain this level of quality for her future releases she'll be solid.

Five Years Passed, and SZA did the required touring, the features and public appearances to keep her wheels going all the while seemingly working herself to the brink of collapse to put together what eventually became the 23 (!!) tracks that make up SOS. Since it's release it’s dethroned Beyoncé from the top of the most streamed lists and it's been the only thing I've been able to listen to.

Good day in my mind, safe to take a step out
Get some air now, let your edge out
Too soon, I spoke, you be heavy in my mind
Can you get the heck out?
I need rest now, got me bummed out
You so, you so, you, baby, baby, babe
I've been on my empty mind shit

I try to keep from losin' the rest of me
I worry that I wasted the best of me on you, baby
You don't care
Said, not tryna be a nuisance, it's just urgent
Tryna make sense of loose change
Got me a war in my mind
Gotta let go of weight, can't keep what's holding me
Choose to watch
While the world break up and fall on me

There is just so much to dig into with this album its almost impossible to figure out where to begin. I mentioned before the ‘breadcrumb’ releases over the last year(s) such as the sleepily wistful ‘Good Days’, the sensual and confrontational ‘I Hate You’ and the infectious hook of ‘Shirt’ which both were great appetizers for this album and left me wanting a full album of songs like both of them individually. They were clear steps forward through the path SZA had already carved with CTRL and left me wanting a full album with just the individual vibes from each of those songs. Perhaps that was close minded of me, because what we got with SOS ended up being so much broader and diverse than I could have ever expected.

I'm so mature, I'm so mature
I'm so mature, I got me a therapist to tell me there's other men
I don't want none, I just want you
If I can't have you, no one should, I might


I might kill my ex, not the best ideaHis new girlfriend's next, how'd I get here?
I might kill my ex, I still love him, though
Rather be in jail than alone

It’s clear from the second track ‘Kill Bill’ that whatever my expectations going in were, they were clearly underdeveloped. This track is an INSTANT classic that sneaks in with a ‘murder-ballad’ worthy story of a jilted lover and an eyebrow raisingly undeniable chorus that won’t leave your head for days, all over an instrumental that bounces along with a carefree hysteria. Putting such a strong track at the start can often put you at the risk of ‘front loading’ an album with all the interesting tracks, but the momentum never lets up, with tracks like the woozy-trap of ‘Low’, and the tender ‘Love Language’ showing just how musically flexible SZA has become. She can easily switch up the vibe from one track to the next without leaving the listener feeling like they’re being jerked around aimlessly.

Took me out to the ballet
You proposed, I went on the road
You was feeling empty, so you left me
Now I'm stuck, dealing with a deadbeat
If I'm real, I deserve less
If I was you, I wouldn't take me back
I pretend when I'm with a man it's you
And I know that it's too late
I don't wanna lose what's left of you

How am I supposed to tell you
I don't wanna see you with anyone but me?
Nobody gets me like you
How am I supposed to let you go?
Only like myself when I'm with you
Nobody gets me, you do
You do
Nobody gets me, you do
You do
Nobody gets me, you do
You do
Nobody gets me, you do

This dexterity on display is no more apparent when SZA drops the 2000’s era pop-punk track ‘F2F’ in the halfway point of the album, crashing through the gate with another surprise that works so effortlessly with its stripped down guitars and punky vocals that put other acts trying to capitalize on the pop-punk resurgence to absolute shame. MGK might as well retire now as he’ll never write a song this good. Following this track we get the sweetly crafted Top 40’s ballad ‘Nobody Gets Me’ where SZA’s vocals have never been stronger, and the mournful self reflection of ‘Special’ where the confessional side of SZA’s songwriting gets laid bare in all its messy honesty.

I wish I was that girl from that Gucci store
She never wore any makeup and she owns couture
I got pimples where my beauty marks should be
I got dry skin on my elbows and knees
I never liked her, wanted to be like her
Hate how you look at her, 'cause you never saw me
Like I was an art piece, like I was an ordinary girl

I wish I was special
I gave all my special
Away to a loser
Now I'm just a loser
I used to be special
But you made me hate me
Regret that I changed me
I hate that you made
Just like you

By the time this album comes to a close with ‘Forgiveless’ and its posthumous Ol’ Dirty Bastard feature (a sample that really shouldn’t work but really really does) its clear that every expectation of SZA across the board was an unfair estimation of her skills as a singer, songwriter, and artist. Five years have passed since her debut and the growth from then to now is simply stunning, even coming off the heels of a debut that was already one of the best in recent memory. It’s hard to say for certain the impact this album will have on the musical landscape of the coming years, but it cannot be understated the potential contained here. SZA was already a super-powered force with countless imitators, but with SOS now on the books, many will imitate and most will fail. As of now, this album is SZA’s masterpiece and for it to be only her second full release, that makes the future seem that much brighter.

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