フォーマット |
CD |
---|---|
構成数 |
1 |
国内/輸入 |
輸入 (アメリカ盤) |
パッケージ仕様 |
- |
発売日 |
2016年11月18日 |
---|---|
規格品番 |
88985387462 |
レーベル |
|
SKU |
889853874620 |
構成数 | 1枚
合計収録時間 | 00:51:43
Audio Mixer: Mikaelin Bluespruce. Solange Knowles started writing her third album in New Iberia, Louisiana, a town where her maternal grandparents lived until a Molotov cocktail was thrown into their home. That setting helps explain how A Seat at the Table turned out drastically different from Knowles' previous output. There's no revisitation of beachy retro soul-pop and new wave akin to "Sandcastle Disco" or "Losing You." Nothing has the humor of "Some Things Never Seem to Fucking Work" or the bluntness of "Fuck the Industry." There certainly aren't any love songs in the traditional sense. Instead, surrounded by a collaborative throng that includes Raphael Saadiq, Dave Longstreth, and Adam Bainbridge, Knowles composed and produced alleviating pro-black reflections of frustration and anger. They regard persistent dehumanizing burdens dealt to her and other persons of color in a country where many are hostile to the phrase "Black Lives Matter" and the equality-seeking organization of the same name. Remarkably, tender elegance is the mode for much of the album's duration, as heard in the exquisitely unguarded "Cranes in the Sky" and dimly lit left-of-center pop-R&B hybrids "Don't You Wait" and "Don't Wish Me Well." Those songs crave release and reject character assassination and stasis while hinting at inevitable fallout. Their restrained ornamentation and moderate tempos are perfectly suited for Knowles, an undervalued vocalist who never aims to bring the house down yet fills each note with purposeful emotion. When the rhythms bounce and the melodies brighten, as they do during a short second-half stretch, the material remains rooted in profound grief and mystified irritation. In "Borderline," a chugging machine beat and a lilting piano line form the backdrop of a scene where Knowles and her partner tune out the world for the sake of their sanity. Then, after Nia Andrews and Kelly Rowland's half minute of proud harmonic affirmation, along comes "Junie," a squiggling jam on which Andre 3000 makes like the track's namesake (Ohio Players and Parliament legend Junie Morrison), where Knowles delivers a sharp metaphorical smackdown of a cultural interloper like it's merely an improvised postscript. All of the guests, from Lil Wayne to Kelela, make necessary appearances. The same goes for Knowles' parents and Master P, who are present in the form of short interludes in which they discuss segregation, self-reliance, cultural theft, and black pride. These segues shrewdly fasten a cathartic yet poised album, one that weighs a ton and levitates. ~ Andy Kellman
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1.[CD]
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1.Rise
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2.Weary
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3.Glory Is in You, The (Interlude) - (featuring Master P)
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4.Cranes in the Sky
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5.Dad Was Mad (Interlude) - (featuring Mathew Knowles)
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6.Mad
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7.Don't You Wait
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8.Tina Taught Me ( Interlude) - (featuring Tina Knowles)
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9.Don't Touch My Hair - (featuring Sampha)
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10.This Moment (Interlude) - (featuring Devonte Hynes/Sampha/Master P/Kelsey Lu)
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11.Where Do We Go
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12.For Us by Us (Interlude) - (featuring Master P)
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13.F.U.B.U. - (featuring The Dream/BJ the Chicago Kid)
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14.Borderline (An Ode to Self Care)
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15.Got So Much Magic, You Can Have It (Interlude) - (featuring Nia Andrews/Kelly Rowland)
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16.Junie
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17.No Limits (Interlude) - (featuring Master P)
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18.Don't Wish Me Well
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19.Pedestals (Interlude)
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20.Scales - (featuring Kelela)
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21.Closing: The Chosen Ones
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8年ぶりとなる3枚目のフル・アルバム。デヴ・ハインズ関与のEPや自主レーベル製コンピの流れを汲む越境感覚、〈Black Lives Matter〉的な動きに呼応しつつ黒人ルーツや女性の自立にまで拡げた壮大なテーマを姉ビヨンセの最近作と重ね合わせたくもなるが、音の感触はスウィートで優しい。制作ではラファエル・サディークが主導権を握り、ソウル/ファンクのオーガニックな質感と80sポップ的なソリッドな風合いを交配。先行カットの"Cranes In The Sky"をはじめ、リル・ウェイン、Q・ティップ、サンファらを招いて、控えめに声を添えるトゥイートのように艶やかな声で歌い舞う尖った美曲は、過去最高に彼女の真価が発揮されたと言っていい。頻出するインタールードにはマスター・Pやケリー・ローランドらを起用。NOLAセカンドラインを採り入れつつ、BJ・ザ・シカゴ・キッドやドリームと相見えれば、鬼才ジュニー・モリソンに捧げた曲も披露。この大作感はケンドリック・ラマーの〈TPAB〉にも匹敵する。全米1位にも納得だ。
bounce (C)林剛タワーレコード (vol.397(2016年11月25日発行号)掲載)
8年ぶりのアルバムとはいえ、紆余曲折あったわけですからもう再デビューみたいなものでしょう。デヴ・ハインズとともに辿りついたインディーR&B路線にシーンが追いついたかたちで悲願の全米1位。おめでとうございます。
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