On the quest for playlist-worthy music to vibe to this summer, the Connector bumped into SZA’s latest album “SOS.” Though it was released at the tail end of last year, it is surprisingly still in the top 5 of Billboard’s Top 200 albums almost half a year later. If you are unaware, “SOS” is alternative-pop R&B infused record featuring a vast 23 tracks. As SZA’s long-awaited second commercial LP, the body of work has received critical acclaim, dominating both on the album and singles chart.
We wanted to take a closer look at it’s sonic layout and dig deep into SZA’s lyrical and melodic prowess that she is often praised for possessing. Apart from just a couple of filler songs (that are still very solid), its understandable why this project is adored by many of my friends and is still being raved about to this day. Let’s have a gaze at the record-breaking success of SOS and take a ride on it’s musical rollercoaster.
From New Jersey, SZA began her journey grinding independently in 2011. Her big mainstream break came in 2017 with her single “Love Galore” featuring Travis Scott. Her debut album “CTRL” is arguably her best work to date and earned her an official seat at the Grammy’s table. Five plus years later, we are blessed with “SOS.” No need to argue, this album stands entirely on its own and cannot be widely compared. If you are late to SZA’s party, no need to do an extensive background check. “SOS” serves more than enough of her signature flair that will most likely enthuse you to do a deep dive afterwards.
This review will be broken down into categories based on the core musical elements of this project; hip-hop, contemporary R&B, Pop, and alternative blend. For kickers, the “meh” category is for records that could be passed on. But no need to fret that list is scarce. For as many tracks that are included on the album, 90% of them are un-skippable. But what do I know? I am just a filmmaker with a love for music, with a background in performance and music production. It may not be enough to qualify me as a music critic. But my ears work just fine, and I love this album.
Let us begin with the hip-hop motivated songs. These records give off that club-banger hip-hop energy without being too abrasive. The album’s title opener “SOS” feels like a 90’s melodic rap freestyle with some bold chest vocals. The song is brief but hits hard, waking us up to SZA’s world. Contrastingly, the album ends with “Forgiveless.” This one is in a similar vein as the opener, but with a bit more rage and animosity. If you’re a fan of this raw and gritty lane, then the songs “Low” and “Smoking on my Ex Pack” will be of interest as well. Lastly, shout out to the single “Shirt” which is a personal favorite, that also falls into this urban pocket. This smooth R&B track has a vibey beat that is reminiscent of a dark alley dimly lit with neon streetlights. The resentful yet swagger forward lyrics give it a nice pop.
The pop records on “SOS” can compete with the likes of Taylor Swift and Ariana Grande. In fact, the unexpected hit “Kill Bill” gave SZA her first solo number one single. This subtly unique track about a scorned lover and his new girlfriend has an infectious bluesy pop beat. The vocals and tone suggest happy and calm while the lyrics scream jealousy and murder. Not to mention it is inspired by the classic Quentin Tarantino movie, leading to a much-appreciated character cameo by Vivica Fox in the music video.
“Ghost in the Machine,” and “F2F” help to illustrate this charged emo-pop fantasy. On the other hand, “Blind” and “Nobody Gets Me” gives us a more vulnerable SZA with nice guitar riffs and falsetto highlights. You will get all your pop music sensations and fixings within this corner of the “SOS” bodega.
If you enjoy 90s R&B, Brandy & Monica, or just nice chill records, you will be pleased with “Snooze,” “Love Language” and “Too Late.” The latter two records encircle real issues between quarreling lovers but from two different ends of the R&B sonic spectrum. “Too Late” being more upbeat and contemporary, “Love Language” more subdued and serious. The record “Snooze” certainly is my favorite of the three. It provides us with a soothing mid-tempo beat behind a melodically undeniable hook, agile verses and favorable background ad-libs. The emotionally honest timbre of this record is so purifying, no wonder it is selected to be the next radio single.
Of all her records, there are those special ones that truly showcase SZA’s innovative way of delivering lyrics, emotion and stylish melodies. “I Hate U” was released a year before the album and quickly became a social media and radio hit. The beat emits warming synthesizers over dramatic drums laced with chillingly truthful lyrics and harmonies. Speeding in the next lane are “Seek & Destroy” and “Conceited,” both with pleasingly repetitive hooks and catchy vibrant production. “Gone Girl” gives us the emotional and passionate SZA singing in her prime vocal range over a classic soulful R&B track. “Good Days” give us that same SZA over a slower, more colorful, meditative track. While the song “Far” is the distant cousin of these records as its title ironically suggests, it’s close enough to home to be recognized for its rawness and relatable theme of wanting to be far away from the madness.
If you have been following SZA online for some time, then you know that she has been very upfront about her industry woes behind the scenes. Additionally, she has gone public about image and self-esteem issues, which can only be amplified when you are an entertainer. Even on the title track of her album, she hints at her disregard for society’s opinion on her plastic surgery.
Ever since the likes of sexually empowered women like Nicki Minaj, the BBL, which stands for “Brazilian Butt-Lift” has cultivated a culture of women who seek to add sexual value to their aesthetic by enlarging their bottoms through plastic surgery. SZA represents women who desire to do with their bodies as they please, without scrutiny and double standards. Much like fellow female artists Lizzo and Coi Leray, SZA has made a point to shed light on body positivity no matter where you are physically categorized. On the song “Conceited,” she confidently flaunts the lyrics “just got my body done, ain’t got no guilt about it.”
These themes of female empowerment work in SZA’s favor and her semi-relatable branding. Her openness surrounding her personal life has grounded her in a way that attracts more people to listening to her music. Teaming up with other confident women like Doja Cat on the chart-topping record “Kiss Me More,” and on other songs with Doechii, Cardi B, Justin Timberlake and Kendrick Lamar has allowed SZA to remain relevant during the almost six-year gap in between albums. These strategic features in addition to her ever-so-often released singles gave her audience just enough to crave more. SZA’s tweets and IG posts about her label issues inflamed her fans causing even more of a demand. When “SOS” finally hit, it was so successful that it raised the RCA label’s market share and overall standing in Q1 of 2023. Besides Beyonce and maybe Summer Walker, no other female R&B act has been quite able to achieve this level of success in the last few years.
I can admit that you may have to take a few listens to “SOS” and read along with the lyrics to grasp the full context of each song. SZA’s tricky “cursive-singing” tends to overshadow lyrical distinction but is effectively juxtaposed to her beat selection and melodies. Some people have accused her of making “sad girl music” which she rightfully took defense to.
There are only a couple of songs that didn’t have long lasting impact on my experience with “SOS.” It isn’t that they are terrible by any means. The album is indeed on the longer side, and if some songs were to be cut, I would offer up these first. “Open Arms” is well sung and has meaning but comes across a bit generic. Travis Scott unfortunately could not bring the same life to this record as he did with her debut single. “Used” and “Notice Me” seem to struggle to find footing and individuality but work well as nice background music.
Though her target fanbase may be composed mostly of younger women finding themselves, SZA’s uniqueness finds a way to genuinely reach many different audiences. If you are a true lover of music and believe in keeping RnB alive, support this album by giving it a listen. It brings me joy to see a fellow artist, that happens to be both African American and female, thriving and helping to diversify the musical stratosphere ultimately inspiring all creators and dreamers.
SZA’s latest album has spent seven consecutive weeks at number one, has broken records by heavyweights likes of Whitney Houston and Aretha Franklin, and has made a huge dent in RnB streaming history. Check it out on all major streaming platforms and support true musicianship. “SOS” timelessly delivers.
