bears early marks of what would later become SZA’s signature style. Its softer sound is matched by an unabashed yearning; the EP opens with “Castles,” on which SZA muses, “Wish I was prettier, a little, for ya / Maybe I’ll understand when I get older.” The frenetic current of sound underneath is a bit jarring — are those sleigh bells in the background? — but the wistfulness of this first line heralds the SZA to come, a vulnerable romantic trying to get a hold on her self-worth.
, in which Kitt refuses to compromise for love. Kitt’s voice is regal and precisely enunciated, and her old Hollywood lilt gives the sample a fairy-tale aura even as she spits, “Stupid! A man comes into my life and I have to compromise? You must think about that one again.” Kitt’s insistent independence makes her a perfect foil to SZA, who craves nurturing love.
SZA signed with TDE in 2013. She was the only woman on the label’s stacked lineup, which included Kendrick Lamar, Jay Rock, and Schoolboy Q. The next year, she put out, her first full-length album, which received a tepid critical response.
And she wrote from an astonishingly personal perspective. Song after song, she gave voice to the hopeful, fearful limbo of a young woman caught in the crosshairs of hookup culture. Sometimes she sounded game for the necessary compartmentalization of casual sex, as on the buoyant “The Weekend,” which Vulture described as an ode to “.” But she wasn’t afraid to admit that she craved a kinder intimacy than she’d yet been given.
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