After Nearly 6 Years, SZA Releases 2nd R&B LP
It had been almost six years since SZA released her debut studio album Ctrl to universal acclaim. 15 Grammy Nominations (including one win), 295 straight weeks on the Billboard 200 chart, & multiple platinum certifications later, SZA has finally delivered her follow-up, SOS, to a drastically changed industry landscape. After delays due to frustrations with her record label and reports of having written over 100 songs for it, SOS had lofty expectations upon release.
Thankfully, SOS is another masterful album from SZA. A far more expansive work than Ctrl (clocking in at 23 songs and over an hour of runtime compared to 14 songs and under 50 minutes), SZA showcases her diverse expertise as a songwriter for an album with greater stylistic variety without sacrificing the emotional vulnerability that defined her past work.
Titular track & album opener “SOS” begins with the distress call in morse code, evoking the album’s oceanic album cover, before a 70s soul sample croons “last night I cried.” SZA immediately halts the melancholy with a bombastic opening verse calling out her exes, new girls, and pretty much anyone that stands in her way — before closing with the lasting testament “and I cried and cried / said what’s on my mind.”
It’s this interplay between vulnerability and bravado that defines SOS — a journey through SZA’s lowest & highest moments, creating the sensation we’re experiencing them in real-time. While this style was also indicative of Ctrl, the length and diversity of SOS paint a much broader and encompassing picture of SZA as a person & artist.
On “Low,” SZA smoothly flows warnings to her hook-ups to keep it quiet over a foreboding instrumental (fitting for guest vocalist Travis Scott). “Smoking on my Ex Pack,” meanwhile, finds SZA dipping into a more traditional rap verse, exuding swagger as she trashes her desperate ex (who may or may not be Drake).
Such empowering tracks give way to deeply vulnerable emotional cuts. “Nobody Gets Me,” is an all-out ballad, with SZA showing off a flexible array of belts, falsetto, and riffs. “Blind” begins as an even softer acoustic cut, featuring falsetto vocals over guitar picking before incorporating richly layered orchestral strings for a sweeping emotional crescendo.
Over its 23 song run time, SOS does have a few rare misses. “Used” features a grooving baseline and some smooth flows from SZA, but is derailed by a shockingly weak verse from Don Tolliver. “Special,” meanwhile, has the soft rhythm and laid-back repetitions of a nursery rhyme; the emotions & instrumental here just don’t reach the same heights as other emotional cuts on the album.
These outliers aside, SOS culminates with an incredible stretch run to end the album. “Open Arms” continues to dip into acoustic soundscapes while boasting an emotional guest verse from Travis Scott — a departure in sound for the artist that works shockingly well. “I Hate U” follows, a break-up jam featuring a call-and-response chorus over bouncy, at-times menacing synths that are equal parts triumphant and melancholic.
“Good Days” is the album’s emotional peak, with a densely layered sound combining acoustic guitar, rich strings, flute, synth, & serene backing vocals from Jacob Collier — feeling like an acceptance that despite it all, good days are still on the horizon. The record closes with “Forgiveless,” repurposing a rap verse from Ol’ Dirty Bastard that SZA matches over a jaunty old-time piano. She exclaims she’s “not in the dark anymore” due to her insecurities and prior trauma, and although she “might forgive it, (she) won’t forget it.”
What a perfect closing line for SOS. Throughout the album, SZA takes the listener through complex, messy emotions as she unravels them; by the album’s close, SZA has found a greater peace, forgiving those who have caused these emotions necessary for growth but vowing to never have to learn the same lesson twice. By expressing such vulnerability, SZA advocates a pathway for listeners to do the same. SOS is a comprehensive collection of songs, custom-made for repeat listens as fans share SZA’s emotions in their own lives; expect this one to be replayed for decades to come.
SZA’s SOS Track-by-Track Album Review
Track 1: SOS
Length: 1:57
From the review: Titular track & album opener “SOS” begins with the distress call in morse code, evoking the album’s oceanic album cover, before a 70s soul sample croons “last night I cried.” SZA immediately halts the melancholy with a bombastic opening verse calling out her exes, new girls, and pretty much anyone that stands in her way — before closing with the lasting testament “and I cried and cried / said what’s on my mind.”
Track 2: Kill Bill
Length: 2:33
The album’s hit single, “Kill Bill” combines hypnotizing vocals, a riffing electric guitar, & evocative lyrics (“I might kill my ex/not the best idea”) for an incredible track destined to be played loud & frequently.
Track 3: Seek & Destroy
Length: 3:23
The repeated refrain “do it to you/I had to do it to you” evokes the sense of urgency carried throughout this track — SZA here is clinging to a control over her fears she may have never had in the first place, forcing herself to hurt others in the process.
Track 4: Low
Length: 3:01
From the review: On “Low,” SZA smoothly flows warnings to her hook-ups to keep it quiet over a foreboding instrumental (fitting for guest vocalist Travis Scott).
Track 5: Love Language
Length: 3:03
The album’s first softer track, SZA here expresses a desire to open up better lines of communication with her partner — all over a smooth electric guitar & punctual snaps.
Track 6: Blind
Length: 2:30
From the review: “Blind” begins as an even softer acoustic cut, featuring soft falsetto vocals over guitar picking and before incorporating richly layered orchestral strings for a sweeping emotional crescendo.
Track 7: Used (feat. Don Toliver)
Length: 2:26
From the review: “Used” features a grooving baseline and some smooth flows from SZA, but is derailed by a shockingly weak verse from Don Tolliver.
Track 8: Snooze
Length: 3:21
“Snooze” is one of the album’s smoother tracks. Here, SZA longs for intimate connection with her partner on over dreamy synths and echoing vocals. A gorgeous, addictive cut.
Track 9: Notice Me
Length: 2:40
“Notice Me” is absolutely bouncy; its quick-hit organ sounds perfectly match the song’s lyrics as SZA attempts to be noticed & accepted, trying to be someone’s “person.”
Track 10: Gone Girl
Length: 4:04
An early highlight of SOS, “Gone Girl” features some of SZA’s most emotional vocals accompanied by light snaps, a soulful piano, rich harmonies from backing vocals, & an impressive key change.
Track 11: Smoking on my Ex Pack
Length: 1:23
From the review: “Smoking on my Ex Pack” finds SZA dipping into a more traditional rap verse, exuding swagger as she trashes her desperate ex (who may or may not be Drake).
Track 12: Ghost in the Machine (feat. Phoebe Bridgers)
Length: 3:38
The sad girl collaboration America needed, “Ghost in the Machine” features light electric guitar and distant echoes evocative of a more traditional Phoebe Bridgers song before bringing in SZA’s more techno-heavy sound for a stand-out track.
Track 13: F2F
Length: 3:05
Merging country-style verses with an explicit Paramore-esque pop-punk chorus, “F2F” is a dramatic departure for SZA; personally, I love it.
Track 14: Nobody Gets Me
Length: 3:00
From the review: “Nobody Gets Me,” is an all-out ballad, with SZA showing off a flexible array of belts, falsetto, and riffs.
Track 15: Conceited
Length: 2:31
“Conceited” is the ultimate ode to being, well, conceited. SZA croons “cause I’m bettin’ on me” in a post-chorus bound to echo in the ears of people feeling themselves for generations to come.
Track 16: Special
Length: 2:38
From the review: “Special” has the soft rhythm and laid-back repetitions of a nursery rhyme; the emotions & instrumental here just don’t reach the same heights as other emotional cuts on the album.
Track 17: Too Late
Length: 2:44
“Too Late” is a banger. Another track featuring guitar picking, this track also features a hypnotic synth for a track that’s smooth, bouncy, & addicting to listen to.
Track 18: Far
Length: 3:00
“Far” feels like the opening to the album’s final run of songs; the track finds SZA dealing with rejection, realizing she’s “far” from who she used to be. This emotion perfectly teases SZA’s final acts of self-discovery as the album closes.
Track 19: Shirt
Length: 3:01
On “Shirt,” SZA embraces her darker emotions, feeling the “comfort in (her) sins.” Groovy yet tinged with insecurity, “Shirt” feels like SZA’s final moment before reaching true acceptance.
Track 20: Open Arms (feat. Travis Scott)
Length: 3:59
From the review: “Open Arms” continues to dip into acoustic soundscapes while simultaneously boasting an emotional guest verse from Travis Scott — a departure in sound for the artist that works shockingly well.
Track 21: I Hate U
Length: 2:53
From the review: “I Hate U” is a break-up jam featuring a call-and-response chorus over bouncy, at-times menacing synths that are equal parts triumphant and melancholic.
Track 22: Good Days
Length: 4:38
From the review: “Good Days” is the album’s emotional peak, with a densely layered sound combining acoustic guitar, rich strings, flute, synth, & serene backing vocals from Jacob Collier — feeling like an acceptance that despite it all, good days are still on the horizon.
Track 23: Forgiveless (feat. Ol’ Dirty Bastard)
Length: 2:21
From the review: The record closes with “Forgiveless,” repurposing a rap verse from the now-deceased Ol’ Dirty Bastard that SZA matches over a jaunty old-time piano. She exclaims she’s “not in the dark anymore” due to her insecurities and prior trauma, and although she “might forgive it, (she) won’t forget it.”
