This is a guest post written by Ambrielle Moore
“If you don’t understand my record, then you don’t understand me. So this is not for you.”
It’s been a pivotal, powerful year for black women. This album follows Anti (Rihanna), Lemonade (Beyoncé), and Telefone (Noname). It follows Jesse Williams’ BET Awards shout out. It follows Diamond Reynolds. It follows Solange’s own essay, penned after an experience all too many black women recognized. Most of all, this work follows our country’s ever-intensifying social climate as more black people are killed by law enforcement, and an openly racist, misogynistic millionaire inches closer to the White House. As a black woman, the context of this release feels significant. We needed this album in 2016, a year where, as a collective, it’s become crucial to express (in as many ways as possible) a simple, freeing, unapologetic statement: “I love my blackness. And yours.”
This album–like other black works of art this year–issues a personal narrative that expands a greater story on blackness, bringing to light the depths of our pain and experience rarely seen in the mainstream. Art in 2016 has allowed black people (especially black women) to explore, dissect and express a quiet internal storm that’s been building for some time now. As a conceptual work, then, A Seat at the Table succeeds in depicting a once overlooked but increasingly relevant character: the black woman. It is a complete and detailed exploration of that story, and though I imagine it will be educational to many, it is also a love letter in our own language–it does not pander, nor does it spell out obvious and accepted truths. Solange says quite frankly that this is an album for us, by us (see tracks 12 and 13). There are blanks that as a black woman, you fill in easily. Listening to this album is being in conversation with the artist herself, lamenting a shared struggle. Listening to this work as a young black woman is to be seen.
Other songs on the album, though, are clear messages to non-blacks (from a female black perspective). “Don’t Touch My Hair” is the clearest example when she says, “They don’t understand what it means to be me,” and follows up by equating her hair to a “crown” or “pride,” taking back the dignity and humanity often lost in awkward social encounters with non-blacks who confuse black women with friendly poodles or public property. For the black woman, hair is political and consuming in many ways. It’s not accidental that the cover art for this is a headshot of the artist with hair undone, clips strewn in. It’s vulnerable and purposeful and honest.
Let’s talk about the damn interludes though–because they’re flawless. The excerpts of conversation flow and carry the listener through, bridging gaps between songs thoughtfully. Through these smooth speaking transitions, Solange clearly states that this is a complete aural essay. This album deserves a thorough listen, complete and uninterrupted. A Seat at the Table should come on vinyl or cassette or as one giant song–shuffling a work like this should be sacrilege. Unlike a recent album by another important black visionary, I have zero desire to skip through these excerpts, because they matter and, most of all, they’re just pleasant to the ears. You don’t have to overthink them as they’re curated and direct, feeling more like source material introducing or expanding the adjacent tracks. With these clips, Solange proves her attention to detail and her penchant for easy, organic storytelling.
The best part about A Seat at the Table, though, is Solange’s pervasive calm. As the tracks progress, what is, admittedly, her signature and evolving aesthetic starts to feel like a purposeful critique of the angry black woman stereotype. The Mad Black Woman archetype is enforced by memes and movies which make light of her. There exists a whole world of reasons black women have to be angry, as James Baldwin said, “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.” That goes double for black women. If Lemonade embraces the spirit of that anger and that life by reclaiming it–smashing car windows and getting in formation–then A Seat at the Table subverts it. “Mad,” which may be my favorite track, is the best example of this, where a grooving slow tempo carries Solange’s high angelic voice as it delivers truthful frustration. She repeats, “I got a lot to be mad about,” carefully and calmly stating a fact modern black women rarely allow themselves to admit in mixed company. In predominantly white spaces, where many of us function on a daily basis, black women feel a pressure to avoid being labeled an angry black woman, and thus overcompensate with saccharine obedience. If you’ve ever been the black girl in an office, or classroom, or concert, then you know exactly what she means when she finishes the track:
I ran into this girl, I said, “I’m tired of explaining.”
Man, this shit is draining
But I’m not really allowed to be mad.
This track applies to a feeling of “other” and a feeling of exclusion and a pressure to be the opposite of what people expect of you. She drops this truth bomb about the number one black girl frustration, but delivers it with this slow, beautiful cadence and a damn near chilling Weezy verse.
While “Mad” portrays the stifled anger of a black woman, “Cranes in the Sky” breaks down another archetype in the Strong Black Woman. It is a role we are expected to fill as well, an unfair responsibility to provide strength for others–black men, children, bosses and friends. Think of the black best friend in any TV show. Think of every black woman who has to speak about the death of her child or husband in another shooting. Think of the often portrayed black matriarch working as a maid or cook. Black women are expected to be strong in the face of their own struggles and everyone else’s too. Cranes in the Sky could be in response to any myriad of heartbreaks, a romantic loss, a general feeling of exclusion, another televised death. It exposes the vulnerable playbook of coping mechanisms that Solange employs in the face of her own everyday trials. Her strengths fail, and no matter the medium, her melancholy persists. If a Knowles can admit the cracks in her armor, perhaps other strong black women can find solace in a strength that wavers. Instead of being “a strong black woman that don’t need no man,” A Seat at the Table gives us permission to be human in the various ways that somehow seem to exist for everyone else.
I think that’s what this album does so well. Solange dismantles the many myths black women share by humanizing our struggle, celebrating our magic, and building up our beauty.
–Written by Ambrielle Moore
This Viola Beach posthumous album is a review I’ve struggled with for a few weeks. How do you review a debut album that also happens, by way of terrible circumstances, to be a final album? What do you say about the talent of a (by all accounts) joyful, warm group of artists who came on to the scene just as quickly as they left it with something as impressive as this album? When I first heard “Swings and Waterslides” last year, I fully expected to be celebrating a big album release from Viola Beach at some point this year, but I obviously never expected these to be the circumstances under which the album was celebrated. The good news is, if there’s anything to be said about this album, it’s that the members of Viola Beach really left us with something special.
Those familiar with the name will warmly recognize “Swings and Waterslides”, the mammoth of a summer song Viola Beach first introduced themselves with. Despite the situation of what materialized from its release to now, the song still holds its warm vibe, and takes familiar listeners back to the first time they heard it.
“Like a Fool” carries the feeling from “Swings and Waterslides” and quickly establishes a Viola Beach standby: ear worm guitar work in the verses. So many songs on this album feature this kind of guitar work, and Kris Leonard’s vocals fit the vibe of this sound like a glove. “Go Outside” sits as my personal favorite among new tracks from the album for that very reason, as the catchy guitar riff is matched by the cadence of the vocals in the verse on the way to one of the group’s more different sounding choruses. Other pre-released standouts like “Boys That Sing” and “Cherry Vimto” gain a deeper sort of post release understanding when packaged together with the rest of the “new” tracks, and bring an unexpected feeling of cohesion to a project that must not have been entirely ready for release.
As a listener, we are left wondering just how much of the album was “finished”, or how many of these songs were entirely meant for an album with the untimely passing of the group and their manager, but it is just that uncertainty that adds tremendously to the overall feeling. Songs like “Get To Dancing”, which is marked as a BBC session, have a raw sound to them that shows us as listeners the truest sound of Viola Beach: uptempo, catchy instrumentals with lyrics just as standout as their presenter’s captivating voice. This will be how Viola Beach is remembered- as an unquestionably sky-high talented group deterred only by tragic circumstances. In a story marked by bad news, the silver lining is that the members of Viola Beach can live on forever through this collection of songs, a collection I feel the drive to recommend more highly than anything I’ve ever recommended on this site or any other. RIP.
June 18th was a big day in music, incase you were living under a rock. The almighty Kanye West released Yeezus, while J. Cole and Mac Miller released both their sophomore efforts. Most are trying to compare Cole and Ye’s LP’s, but you can’t. That’s like comparing LeBron and Jordan. Two different positions, and in this instance, two different genres. You can’t compare a shooting guard and a small forward, and you can’t compare Ye’s alternative-who-the-fuck-knows-what-to-call-it and then Cole’s rap. You may disagree with me, but who cares.
Lets get the facts straight:
- Born Sinner is 100x better than Sideline Story
- Album comes together
- J. Cole doesn’t play any games as he raps about his life
- Production has gotten remarkably better
- More consistent lyrically
- This was a true album, and not a commercial one
The one concern that comes with new artists and their LP’s is how will the debut fair, and will they succumb to the sophomore curse? Sideline Story was better than your average debut, and J. Cole survived sophomore curse with Born Sinner. Born Sinner showcases the evolution of Cole’s production ability, as well as, his growth and maturity as an artist. He continuously raps about his life, sharing it with everyone. That’s how the album comes together as it’s real, and genuine.
He starts us off with Villuminati, a testament to Born Sinner being darker, angrier, and more of a serious album than Sideline Story. This is the stage setter for the rest of the album. Other standouts include: Power Trip (like come on, try to not get that stuck in your head), Runaway, Forbidden Fruit, Ain’t That Some Shit (Interlude), Let Nas Down, & Born Sinner.
In Forbidden Fruit, Kendrick Lamar provides the quiet and calm chorus, as Cole addresses his decision to move up his release date to go head-to-head with Yeezus.
I’mma drop the album the same day as Kanye/Just to show the boys the man now like Wanyá
I applaud him for moving up the release date. Guy has mad confidence. +1 for respect.
There are some weak points about Born Sinner, though: Land Of The Snakes, a remake of Outkast and Slick Ricks Da Art of Story Telling. Just don’t touch something that good. It’s that obvious. Another weak point is that some people may complain about how a lot of the songs sound similar. I’m not going to argue that one because Cole produced the whole thing himself, so of course a lot of it will sound similar, but I think he strung together something he’ll look back and be proud of.
The biggest thing for me, as this won’t be album of the year, but Born Sinner proves that J. Cole got significantly better *with albums*, and hopefully he continues to. This is a very good album, but it won’t be my album of the year. Definitely in my top 10 at the least.
*obviously his mixtapes are a different sotry*
Album Rating: 8/10