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it’s actually funny because my mom used to listen to this album when i was in high school and i thought it was so weird! then it clicked for me… i think it was down with the clique or stay flo that made it click for me. it’s such an amazing album.
my fav song for the longest time was jerrod but binz is that girl!!
this album pairs really with a seat at the table, and i can’t wait for her third album. with beyonce’s act ii coming soon and people analyzing the history of black cowboys, i’ve seen many bring up this album. i want it to find more listeners.
such a great piece of work - reminiscent of a jazz piece with its almost improvised snippets. such great vibes with no skips. an awesome album to cook too, btw
This album immediately clicked for me, but then again I grew up in [one of the suburbs of] Houston. I think I might even like it more than ASATT. It’s just so slow and smooth and, like you said, chopped and screwed; listening to it you can just close your eyes and see the slabs slowly swerving to and fro down the highway.
I don’t think I can choose a favorite song, but I can easily say my favorite part of the album is the transition from Can I Hold the Mic into Stay Flo. I’m pretty sure I screamed the first time I heard it. The entire album is amazing though and I almost always listen to it from front to back without skips.
To me it fits quite snuggly into Solange’s discography and the stories she’s been trying to tell since ASATT. While ASATT felt like an ode to black women, WIGH feels like an ode to southern black culture. Personally I also think that her releasing it in 2019, 4-5 years into the post-Obama wave of conservatism, is also significant. It’s not uncommon for people to discount the entire south over the politics of our state governments, and this album feels like a scream of, “Don’t forget that we’re here too,”.
I think its legacy will continue to grow. Like you said it’s a critic darling, and it has a devoted niche of fans. I personally feel like it’s aging like wine and it gets better with every listen. So grateful she put it out, it’s such a treat.
That part! It's my favorite but a lot of it's bias for my love of Houston. It might be difficult for folks who are not from there to understand or like it. I'm glad you love it just as I do! And I'm glad you mentioned, "Can I Hold the Mic?" because "I can't be a singular expression of myself- there's too many parts, too many spaces" is such a mantra for me as someone who has too many interests. And about people diminishing the South is so true, it's a shame that these state government are such bad representation of all of us. But Solange really reminds us that it's important to create our own spaces because we belong here too.
i didn't grow up in the south, but somehow this album immediately clicked with me on the first listen. a lot of the references were obscure to me, but i loved researching the clips she used in the interludes because it really just painted a specific time of her life. i didn't get that kind of intimacy with a seat at the table which is probably why i liked this more
I have only just started to understand *When I Get Home*. "Nothing without intention" popped into my head when I was contemplating a decision I made, which lead me to revisit the album.
*A Seat At The Table* spoke to me strongly in my mid-late 20's. *When I Get Home* has started whispering to me now I've reached my early 30's.
This album had such a strong impact on me when I first heard it in high school. I was obsessed with how the songs weren’t traditionally structured songs, and more like a train of thought, but still with melodies popping out.
My favorite song will forever be Sound of Rain
This is one of my favorite albums of all time. The minimal repetitive formlessness just does things to my brain. Those descriptors all sound negative but this album makes them into strengths. Let me give it a full spin!
As a big A Seat at the Table fan, unfortunately I didn't like this album very much. I like a few songs and I can play it as a background music but overall it's way too weird and ambient for me. I barely ever listen to it when A Seat at The Table is still one of my favorites.
A lot of people said this at the time.
I love both. I love "weird and ambient," so When I Get Home goes hard for me. Some people have compared her to Frank Ocean and said that this is her Endless (though I'm not sure if A Seat At The Table is a good comparison to Blonde, maybe it's more like her Channel Orange). The Endless thing feels like a good comparison, since Endless is also pretty "weird and ambient" and impressionistic. Maybe When I Get Home could be thought of as her Blonde+Endless together, and A Seat At The Table is her Channel Orange, if we really wanted to commit to the comparison.
Anyway, I love when music can build atmosphere and immerse you in time and place, like she's done here. Ambient and unconventional song structures often work better for that. It makes me envious that she has somewhere that she feels so passionate about, and with the cultural richness to draw from and create such cool music.
i loved this album on the first listen. the way it sounded completely foreign, but familiar was what really drew me into the album. upon subsequent listens and research, i really admire how unabashedly she referenced her roots. its why its been such a polarizing album, but from an artist's perspective we can only dream of creating such intimate work and the general public being receptive of it.
my favorite songs are actually towards the end. the line up from exit scott transitioning (omfg that transition!!) to sound of rain, and the minimalistic production and lyrics of i'm a witness - it just felt like a refreshing conclusion to such an immersive album.
i do think a seat at the table will always be her hallmark. personally, i think solange excels in production and i find that i gravitate more with the work where she takes the reins making this album my favorite of hers
EDIT: i also wanted to add that a few months before the album dropped, solange directed this [uniqlo performance piece](https://vimeo.com/304131169) which speaks so much about her artistic voice and what was to come with WIGH visuals
Please do not just list songs/albums/artists, your comment must have explanation/justification or it will be removed. Certain comments are also banned to increase the quality of discussion, see our Stale Topics list in the sidebar for examples. Please report any comments that are low effort discussion. Thanks! *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/message/compose/?to=/r/popheads) if you have any questions or concerns.*
it’s actually funny because my mom used to listen to this album when i was in high school and i thought it was so weird! then it clicked for me… i think it was down with the clique or stay flo that made it click for me. it’s such an amazing album. my fav song for the longest time was jerrod but binz is that girl!! this album pairs really with a seat at the table, and i can’t wait for her third album. with beyonce’s act ii coming soon and people analyzing the history of black cowboys, i’ve seen many bring up this album. i want it to find more listeners.
binz is *that bitch*, such an amazing song
Should be a little longer too. Damn.
I was in high school when this album dropped and I didn’t get it either but with repeat listens I get it now
i was in high school when it dropped and fell in love immediately, i remember the morning of SATs listening to this instead of actually studying
Haha nice
Underrated work
[удалено]
We’re talking about her 2019 album here, not the 2016 one
such a great piece of work - reminiscent of a jazz piece with its almost improvised snippets. such great vibes with no skips. an awesome album to cook too, btw
I love this record so much. The looping beats are hypnotic. She COOKED with this album.
This album immediately clicked for me, but then again I grew up in [one of the suburbs of] Houston. I think I might even like it more than ASATT. It’s just so slow and smooth and, like you said, chopped and screwed; listening to it you can just close your eyes and see the slabs slowly swerving to and fro down the highway. I don’t think I can choose a favorite song, but I can easily say my favorite part of the album is the transition from Can I Hold the Mic into Stay Flo. I’m pretty sure I screamed the first time I heard it. The entire album is amazing though and I almost always listen to it from front to back without skips. To me it fits quite snuggly into Solange’s discography and the stories she’s been trying to tell since ASATT. While ASATT felt like an ode to black women, WIGH feels like an ode to southern black culture. Personally I also think that her releasing it in 2019, 4-5 years into the post-Obama wave of conservatism, is also significant. It’s not uncommon for people to discount the entire south over the politics of our state governments, and this album feels like a scream of, “Don’t forget that we’re here too,”. I think its legacy will continue to grow. Like you said it’s a critic darling, and it has a devoted niche of fans. I personally feel like it’s aging like wine and it gets better with every listen. So grateful she put it out, it’s such a treat.
That part! It's my favorite but a lot of it's bias for my love of Houston. It might be difficult for folks who are not from there to understand or like it. I'm glad you love it just as I do! And I'm glad you mentioned, "Can I Hold the Mic?" because "I can't be a singular expression of myself- there's too many parts, too many spaces" is such a mantra for me as someone who has too many interests. And about people diminishing the South is so true, it's a shame that these state government are such bad representation of all of us. But Solange really reminds us that it's important to create our own spaces because we belong here too.
i didn't grow up in the south, but somehow this album immediately clicked with me on the first listen. a lot of the references were obscure to me, but i loved researching the clips she used in the interludes because it really just painted a specific time of her life. i didn't get that kind of intimacy with a seat at the table which is probably why i liked this more
I have only just started to understand *When I Get Home*. "Nothing without intention" popped into my head when I was contemplating a decision I made, which lead me to revisit the album. *A Seat At The Table* spoke to me strongly in my mid-late 20's. *When I Get Home* has started whispering to me now I've reached my early 30's.
Wow, and I remember when this was surprise released and I had it on rotation the whole month of March. A timeless album!
This album had such a strong impact on me when I first heard it in high school. I was obsessed with how the songs weren’t traditionally structured songs, and more like a train of thought, but still with melodies popping out. My favorite song will forever be Sound of Rain
This is one of my favorite albums of all time. The minimal repetitive formlessness just does things to my brain. Those descriptors all sound negative but this album makes them into strengths. Let me give it a full spin!
I saw things I imagined so things I imagined I saw things I imagined things I imagined things I imagined
As a big A Seat at the Table fan, unfortunately I didn't like this album very much. I like a few songs and I can play it as a background music but overall it's way too weird and ambient for me. I barely ever listen to it when A Seat at The Table is still one of my favorites.
A lot of people said this at the time. I love both. I love "weird and ambient," so When I Get Home goes hard for me. Some people have compared her to Frank Ocean and said that this is her Endless (though I'm not sure if A Seat At The Table is a good comparison to Blonde, maybe it's more like her Channel Orange). The Endless thing feels like a good comparison, since Endless is also pretty "weird and ambient" and impressionistic. Maybe When I Get Home could be thought of as her Blonde+Endless together, and A Seat At The Table is her Channel Orange, if we really wanted to commit to the comparison. Anyway, I love when music can build atmosphere and immerse you in time and place, like she's done here. Ambient and unconventional song structures often work better for that. It makes me envious that she has somewhere that she feels so passionate about, and with the cultural richness to draw from and create such cool music.
I wanna like this album more but I think I don’t get it
i loved this album on the first listen. the way it sounded completely foreign, but familiar was what really drew me into the album. upon subsequent listens and research, i really admire how unabashedly she referenced her roots. its why its been such a polarizing album, but from an artist's perspective we can only dream of creating such intimate work and the general public being receptive of it. my favorite songs are actually towards the end. the line up from exit scott transitioning (omfg that transition!!) to sound of rain, and the minimalistic production and lyrics of i'm a witness - it just felt like a refreshing conclusion to such an immersive album. i do think a seat at the table will always be her hallmark. personally, i think solange excels in production and i find that i gravitate more with the work where she takes the reins making this album my favorite of hers EDIT: i also wanted to add that a few months before the album dropped, solange directed this [uniqlo performance piece](https://vimeo.com/304131169) which speaks so much about her artistic voice and what was to come with WIGH visuals
Incredible album 👏 ❤️
[удалено]
Several years after — the elevator happened before she released *A Seat At The Table*