Solange had referenced the latter inspiration in an earlier interview as something she’d recently taken an interest in. Images included a pole dancer (Instagram’s and scenes from a ranch, with horses and dancers styled in modern cowboy looks.
They - along with the album’s cover, another striking portrait of Solange - were shot by Max Hirschberger and Alex Marks, creative directed by Cary Fagan, and styled by Kyle Luu and Mecca James-Williams. She launched her own page with lyric excerpts and a dossier of new images, both still and moving, that appear to be pieces of a larger visual project.Ī new journey begins /fiBlFlazn9- cary fagan March 1, 2019 “I don’t know any artist that doesn’t feel that before they hit the send button.”) Instead, Solange reemerged on - of all places - BlackPlanet, bringing back from the presumed dead one of the original social-media platforms (predating even Myspace) that was created specifically by and for black people. (“I have this fear living in my body about releasing work,” she told the Times. Like A Seat at the Table, Solange gave us little time to prepare for When I Get Home, mostly because sharing her art makes her antsy drawing out the process would only make it worse. The Times wrote, “The record will be warm, she says, fluid and more sensual than her last one.” Once again citing Joni as an influence (for “lessons in balancing a career as a musician with the demands of visual creation”), she named other muses: director Busby Berkeley, dancer and choreographer Diane Madden, and Vegas theater, for inspiration for her new live shows Missy Elliott, for visuals and Aaliyah, Sun Ra, Rotary Connection, and Stevie Wonder’s Journey Through the Secret Life of Plants, for sonic cues. She said electronic and hip-hop drum and bass elements would also be present with the intention to make it “bang and make your trunk rattle.” Though it was unfinished, Solange knew how it would sound, noting that jazz would be at its core - though not exclusively. “I like to be able to tell the story in 13 different ways, then I like to edit,” she said. The album would be “still very much in progress until the very end,” and it remained untitled at the time of publication. “But she will not be rushed,” the piece warned. Later in the year, Solange did another interview for the New York Times’ T magazine, where it was reported that her fourth album would “likely arrive into the world fully formed at some mysterious and unexpected moment, like a meteor cratering into the culture” sometime that fall. And then the last day, the owner was like, ‘You know that mural that’s downstairs in the spare bedroom that the engineer booth is in? Joni Mitchell painted that.” The house that I was just recording in Jamaica, I stayed there for four days. She mentioned writing in Laurel Canyon, Topanga Canyon, and Jamaica, and said she was “following” Joni Mitchell for inspiration, sometimes unknowingly: “It has been really wild. It’s not entirely clear how soon after A Seat at the Table Solange broke ground on When I Get Home - she took some time off in 2017 to treat an unspecified autonomic disorder - but exactly one year ago, she revealed in a Billboard cover story that she’d been working on new music.
Among the mix of artists involved are Gucci Mane, Dev Hynes, Earl Sweatshirt, Cassie and … a viral Atlanta public-access sexpert? Let’s plunge right on in to the world of When I Get Home. Her mind! Like her previous, groundbreaking album A Seat at the Table, Home is a rich tableau of collaboration, black history, and references to her Houston upbringing (the homeward destination implied by the collection’s title), but the album takes even more experimental risks with her sound. As if willed into existence by our collective despair, Solange surprise-released her fourth album, When I Get Home, last night right at the intersection of Black History Month ending and Women’s History Month beginning.
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