Review: When I Get Home – 9.4/10

On her fourth album, Solange skillfully invokes the cosmic jazz of Sun Ra to create a work whose central function is to produce a constant repetition of affirmative difference. As Ra says:

“The enclosed vibration limitation / Repeats itself over and over .. it is a cycle .. an eternity never changing / The outerspirals move brilliantly with word-precision, yet varying / Ever outward and ever onward on.“

Sun Ra, The Immesurable Equation, p. 145.

To some this may seem to be a work of cryptic expression, muddled by a lack of semiotization. However it is this lack that is necessary for the constitution of an a-subjective work of jazz. Amongst their other uses, samples are employed to remind the Black Woman that she is powerful beyond measure, to demand a freedom of movement and articulation, to declare intention in all of our actions, and to anticipate the liberation of the Black Individual from their present struggles.

As the album opens, Solange tests the precision-tuning of the listener, simoutaneously embracing a-temporality in her approach, abolishing meter through a repetition of the primary refrain over a fluidly changing rythmn and tone. “Alameda“ affirms the cosmic darkness of black self-ownership and autopoesis, presenting a knight of black faith. The film released in simultaneity with the album continues the refrain of black positivity, making use of an all black cast, many scenes filmed in the dark of the night. Overall this album is a force that may be utilized to open the ears of many towards the plane of duality comprehension.

This text is an excerpt of a forthcoming publication “Networked Ressentiment”.

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