By Sam Wolstenholm
Ctrl is SZA's first studio album, and what a debut it was. Released June 9th, 2017, she kind of took the world by storm. With support from her peers at TDE, she had a successful album rollout and burst onto the scene. This album, along with several individual songs from it, was nominated for multiple Grammy awards (among numerous other awards). Now, SZA is one of the biggest names in R&B/pop music.
I personally remember when this album was released. I had never heard of SZA and only gave her a spin because Kendrick Lamar posted about it on Instagram or something. I was blown away. This was on constant rotation that entire summer as I drove to and from work. It's been a little over five years since Ctrl dropped, so let's go back and explore it as we impatiently await her sophomore project.
1. "Supermodel"
A fantastic album opener. It sets the tone very well as SZA shows off her vocals over a gorgeous array of some guitar and bass chords. It's really simple, but it's beautiful thanks to SZA's performance. She sings catchy melodies, hits a good range of notes, and touches on an interesting relationship situation. She feels unwanted and underappreciated (someone tweaked if you ask me), so she kind of lashes out. It's a "If I'm not good enough for you, then you're not good enough for me" line of thought. However, she does recognize the fact that she is dependent in that she doesn't want to feel alone. That's her reason for responding to his behavior the way she does (sleeping with his friend). I'm not loving the decisions because she's essentially stooping down to his level by doing that. Granted, life is way more complicated than that, and I think SZA does a good job in capturing that concept (not only here, but across the project). Oh yea, I almost forgot to mention the drums. No percussion comes in until late in the song, but it happens so orchestrally. It helps wrap up the track nicely.
Similar to the last track, this one discusses the idea of loyalty vs desire. Or something like that. From what I get from this, SZA is singing from the POV of someone a man is using to cheat with. He has a relationship, but he goes to SZA for "lovin' and licky." They both know it's wrong but justify it by calling it love. It isn't, and they both seem to be aware of that. The Travis Scott feature here sounds a little out of place in my opinion. He doesn't really add much narratively, and his voice doesn't exactly work paired with SZA's either. Hey kind of gets washed by her. She sounds good, and the song is catchy enough, but something about it is just not quite hitting. Maybe it's the beat. I don't hate it, but it doesn't really excite me. It's got some poppy synths and 808s. It just isn't the musical follow-up to the opener I would've liked. It's still a fine song.
Well, if you've heard this song even once, you can probably make a guess on what it's about. I'll let you think about it. Sonically, this one matches the track's title. It's airy, smooth, and sweet. There's a record player static from front to back that really adds to that atmosphere. The slow, simple drums also contribute greatly to that. SZA does her thing again on this one, singing some catchy lines about Forrest Gump...and pussy. I'll just say it. It's really supposed to be a message about respecting the flower and not trying too hard to get to it because you just embarass yourself doing it. Kendrick Lamar kind of says the same thing, but uses more words. I don't love his feature on this song. He says "pussy" wayyyyyy too much. Plus, he switches his flow and his voice too often and in a jarring way over this instrumental. It isn't smooth like the rest of the song. In fact, it's a little disorienting. It doesn't flow well in the middle of the song. The track as a whole is alright, but I think this and the last one might be two of my least favorites on the project (mainly because of the features to be honest).
WOOOO! Is this one popular? Is it a hit? If it isn't, then it's easily my dark horse. However, I think even casual SZA fans are well-aware of the quality of this one. It's one of those songs that makes you feel like you can sing. It's not difficult to learn the lyrics. It's passionate. It's just beautiful. She's singing about insecurity, something we can all relate to (if you can't, you have other problems), even if it isn't the exact same situation we identify with. The pure emotion is something to identify with. That emotion is strong in the instrumental itself too. The composition is amazing. The low-fi guitars work really well with the big drums and weeping violins. The sound goes between big and small a few different times, and it's just cinematic. I don't have a whole lot to say about this one beside the fact that it's one of my favorite songs just in general.
5. "Prom"
Damn. This song is decent, but it's hard for me not to hear Frank Ocean in it. It sounds like something off of his channel ORANGE album (not that that's a bad thing, I love that album). It's got the tight drums, guitar, and bass following a quick eighth-note pattern. It's pretty poppy, but that's fine. It just makes it stand out less from the other tracks. It's good, but a little more forgettable than the others. As she does on pretty much every song though, she sings beautifully and makes damn near every word stick in your head with her melodies. I think she excels at this, which is why her choruses are top-tier. This track is fun and cute, but that's pretty much it. It works better in the context of the album than it does as an individual track.
Pretty sure this track was an actual hit. Well, there is a reason for that. The instrumental comes in with a heavy R&B feel after a wavy little intro. It hits hard and is sensual. It defintely captures the sexy vibes. There's a piano arpeggio running deep in the mix that gives the beat a unique atmosphere. SZA has one of her more catchy hooks on this one. You've heard it: "My man is my man, is your man, heard it's her man too" (I'll bet you sang that in your head). Sharing is caring I guess...she's well aware that this dude is sleeping with multiple women, but she doesn't really seem to care much. It isn't the first time on this project that she is acknowledging the fact that she's with somebody that's already in a relationship. I think it connects to the idea of control. It's a little easier to have control over this part of your life if you know exactly what's going on and you don't get attached to someone. It isn't particularly healthy, but I don't think she's trying to come off as having it all figured out. This album is her struggle with control over her own life. It's not as easy as just making choices as they arise. Sometimes, as in the case of this song, you need to be okay with getting what you want out of a situation. It's kiiiind of fucked up, but, again, she is in control of this situation. Therefore, she is fairly satisfied. That isn't something that is terribly prevelent across the album, so I guess she's just taking what she can get. This track is amazing though, so don't get it twisted.
7. "Go Gina"
Nice and sweet, this track sounds like a smile. The concept, if I interpret this correctly, is about a friendship SZA has. It seems as though they've grown apart but are still supportive of each other. At least, SZA is trying to get her friend, Gina, to loosen up some. Relax Gina, you're fine. Do your thing. The "damn Gina" is a reference to the TV show Martin, where Martin (the main character) would use the line to compliment his girlfriend (named Gina, obviously). There doesn't seem to be anything deeper than that though, as far as I can tell. Apparently, the background vocals in the chorus say, "still works for me," but until I read them for this review, I thought they said, "do what you need." Honestly, I like my lyrics better, but whatever. Either one works for the song. Sonically, it's just good. Like I said, it sounds like a smile, like sunshine. It's a really good track that is also fun to sing along to.
Another uniquely gorgeous track. There's a specific synth that comes in at the beginning of the chorus that isn't very loud but has an enormous effect. It feels like a huge exhale of some sort. Instruments come in an out in the perfect spots. The drums are subtely glitchy. It's a bit unconventional, and I like that (mostly because it sounds good but I also respect the risks). This compliment also applies to the bass line. Lyrically, it's a love song. She wants to believe she's in love with this guy, but she has her reservations (understandable, considering all the other tracks' topics). However, she kind of just lets it happen because of the way he says "I love you" and not by the fact that he's saying it at all. She believes him because she wants to. Honestly, that's kind of how it has to go. If you already choose that you don't want to believe what somebody says, then they don't even stand a chance. It's a trust thing, and SZA is strongly considering trusting the love this man says he has for her.
Besides the already cool title, this song is solid. It's got a nice, spacey sample looping in the background while the sub bass bumps in and out. The hi-hats might actually be my favorite instrument on the track because they stick out in a way that helps move the song along smoothly. They don't follow a particular computerized pattern, but they are panned and have volume distinctions between each note. It makes them sound like they're played live. The rest of the instrumentation is good as well. Topically, SZA is using a broken clock as a metaphor for not managing time. She goes day-by-day. She discusses her past as a stripper and how she feels like that was a waste of her time (but also acknowledges the fact that it's how she made a living at the time, being able to make it to the next day). We are only getting older, and we have a finite amount of time to use. Therefore, it's more important to make today better than yesterday than it is to worry about the general past and future so much. At the end of the song, every sound noticeably slows down. It sounds like a clock in the act of breaking (not that it'd actually sound like that, but it gives the effect). This might've been my favorite track the first time I listened to this album. It isn't anymore (I already talked about "Drew Barrymore"), but I have come around to appreciate it even more now after reviewing.
10. "Anything"
This song almost plays like an interlude (which doesn't fit, in my opinion, coming right before an actual interlude) because of its lack of lyrics. Content aside, the song is only two and a half minutes long and has a lot of repeating words and phrases. She's sticking to the themes of the album (truth in love, control over own life, ect.), but doesn't really dive into much. It is catchy, but not as much so as the other tracks. The sound also feels kind of choppy in places. That's emphasized by the beat. It's pretty empty already, but does a lot of stopping and starting in odd places. It works in some spots but not all of them. The song is alright, but it's one I'm not adding to my playlist anytime soon.
I can hear Wiz Khalifa on this beat (it's got an easygoing feel and some of those old-school drum machine sounds). James Fauntleroy does alright, but his inclusion seems somewhat unnecessary. SZA herself doesn't really do anything great on this either. It isn't nearly as catchy as the rest of the album, and there isn't much to be pulled conceptually. It's an interlude, so it is what it is. I'll let it play if I'm listening to the album. But if I've got a free hand and access to the skip button, I'll strongly consider just cutting to the next track.
12. "Normal Girl"
This track is fantastic. SZA sings about how she isn't a "normal" girl and her desire to be so. However, she also makes a point of basically saying that there is no such thing (which is the stance I'd tend to agree with myself). She gets the impression that she isn't normal because of her lack of success when searching for real love. A "normal" girl would be able to get that right? Well, she says, "This time next year, I'll be living so good...before you figured out that I was just a normal girl." She IS normal in the sense that there really isn't such a thing. Her being herself is what qualifies. It's actually one of my favorite tracks because of this sentiment. Not to mention, the instrumental is fantastic. I love the drum beat especially. In fact, the drums all over this project are impressive because they aren't anything over-the-top while simultaneously being very effective and consistent. There's a great breakdown at the end of the song too that features a slow guitar solo. It sounds amazing. Don't sleep on this one.
I know I've already used the term gorgeous, but damnit this is gorgeous. It's still in common time, but the beat is emphasized in certain unique spots that made me pay attention to the time signature. It's spacey, moody, heavy, large, and quite the overall experience. There's fluttering keys, deep bass, well-placed production, and even some soft strings. It all comes together nicely. Isaiah Rashad has got to be the best feature on this album. His raspy voice sounds great over this production. He's got a great singing voice (for how he does it) and will always come through with something significant to say. He's basically just supporting what SZA is singing about though. She's made a song here encouraging women to fly (metaphorically). She recognizes the fact that young women often get held down or held back by society, but she still suggests making the best of the hand you've been dealt. "They'll let you die. They'll let you wash away, but you swim as well as you fly." It's like a penguin (weird, I know, but it makes sense I promise). No, they cannot fly, but they are fucking amazing swimmers. Birds that fly are often overlooked. They are seen as "pretty" and then pretty much forgotten about. However, they can fly! I wish I could fly. I don't think birds are appreciated for this ability as they should be. And I think that's the comparison that's being made here. Women are often overlooked when it comes to their abilities and skills because society sees them as more of a visual asset than a contributing one. It's pretty fucked up, and I like how SZA approaches it. She obviously uses her looks for marketing as well, but she has been purposeful in branding herself as an artist first. She's a singer and songwriter before she is just a pretty face. This is a track I'd actually like to keep talking about, so feel free to comment your thoughts!
14. "20 Something"
Hey! I'm twenty-something! Wait, and the year is also twenty-something...woah. Alright this track is automatically relatable now. True dark horse here. But, real talk, it is. SZA faces the thought of growing up here. The twenties are an interesting and important time in someone's life. It's the part where one is pitted against real adulthood. Real life. It's a scary thing anyway, but it's even scarier when trying to tackle it alone. She's having trouble coming to terms with the fact that she's going to have to start taking control of her own life. I'm literally going through that right now as I search to rediscover my own identity. I'm 22 years old (23 on Oct. 2nd!), and I am also trying to figure out what I'm actually doing with my life. I don't have a partner, and that's something I've had to deal with too (I'm okay with it, learning a lot about myself). I'm looking for a career, not just a job. Every decision I have to make now is also going to affect my future. When I was a kid or even a teenager, I didn't have that same pressure. I could fuck up something one day and still go to school the next day like nothing really happened. That's not an option anymore, and that's becoming increasingly apparent as I travel through my twenties. The underlying message of this track is the idea that this is all okay though! It's a good thing actually. I mean, would you rather have control over your life or not? I definitely would. SZA's mother closes the album (as well as opening it) by reiterating this concept: "Because the alternative is an abyss, is just a hole. A darkness. A nothingness. Who wants that?" I think that sums up the message of this project overall, and it's beautiful.
Overall
In a sense, it feels like this album is still brand new. It's only been five years. But at the same time, it feels like it's been around for over ten. That shows how it really can stand the test of time. I truly believe that this is a project that has something for everybody. It's universally appealing, but it doesn't sacrifice any creativity or individuality. In my opinion, Ctrl is a project that will age like fine wine. It works as both a list of singles (for those that mainly stream songs) and a complete project (for those who listen to entire albums). There are a few features that don't work for me and a couple moments that slow down in the track list, but those are sparse. The overall consistency across every song more than makes up for that. SZA's singing is undebatable ear candy. She has a knack for catchy hooks that'll have you singing along after only two listens. Not only does this thing sound great, but it's very thoughtful. She's singing from her heart about topics that I'm sure most people can relate to. It's an introspective album, and the great introspective albums are the ones that make the audience reflect on their own thoughts and feelings as well. Ctrl is an amazing project, and listen to it right now if you somehow haven't already.
9.1/10
If you've read my review, I assume you have already heard Ctrl, so I want to hear what you think. What'd I miss? Did I tear apart your favorite song? Or give too much credit to one that doesn't deserve it? Any questions or comments? I'd love to respond. Feel free to drop review requests too! I will strongly consider them (this one was a request).
Peace and love.
I really enjoyed reading your thoughts, especially on pretty little birds, one thing id like to mention is her saying this album is about a Libra man which I just thought was a fun fact lol, but also another thing I’d like to see is a /10 rating on each song just to see how that average Compares to the overall average of the album as a whole, or if it would affect the score, because we know a song can be good but feel out of place compared to an album as a whole as you mentioned a couple times in the review