Song of the Week: SZA’s Musical Universe Expands with “Saturn”
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The post Song of the Week: SZA’s Musical Universe Expands with “Saturn” appeared first on Consequence.
Consequence’s Song of the Week highlights the latest and greatest new tracks each week. Find these new favorites and more on our Spotify Top Songs playlist, and for other great songs from emerging artists, check out our Spotify New Sounds playlist. This week, SZA sends it up to the cosmos.
A Saturn Return only happens once every 30 years or so — 29.5, for the astrology-focused among us. What SZA in particular seems to understand in her new song, “Saturn,” is that once someone lives long enough to experience their own Saturn Return, change is bound to occur.
The song is glittery and dreamy, transportive and meditative, all qualities that often coalesce to create a SZA track. But despite the tranquil atmosphere she conjures, there’s deep sadness woven into the lyrics. SZA has found herself in existential crisis: “None of this matters,” she laments. “This can’t be life.”
“Saturn” is SZA’s quest to “find something worth saving.” She’s sick of spending time with herself, and sick of the mundanity of heartache. The Grammy winner points out that consequences never seem to reach the people who deserve them most, and instead the “good die young and poor.”
When it all comes together, “Saturn” is a very SZA-appropriate take on the many moral crises of modern life — and it’s the depth here, particularly when it comes to how atmospheric and immersive the song is, that reminds us why she’s carved out such a unique space for herself. For SZA, a journey through the stars can be as nihilistic as it is sparkling. Buckle up, because it’s likely her musical universe will just keep growing more and more vast.
— Mary Siroky
Associate Editor
Honorable Mentions
Alemeda — “Don’t Call Me”
The first two chords of Alemeda’s “Don’t Call Me” immediately recall the opening to Avril Lavigne’s “Complicated,” a nod to an era of rebellion that might not be pure coincidence. For those new to Alemeda’s music, her story is an interesting one — the rising pop artist grew up between Ethiopia and Arizona in a strict household that left her completely alienated from music until the age of 10. The air of riot and revolution in her latest release feels authentically cathartic. — M. Siroky
Erick the Architect — “2-3 Zone”
On this James Blake-produced joint, Erick the Architect proves you don’t have to be loud to be flashy and impressive. While the beat stays low-key and ethereal — even with the absolutely sinister beat switch — Erick the Architect finds his pocket to spit fast and tight. It’s an impressive technical display, but more than that, it’s a vibey, understated banger. — Jonah Krueger
Hot Joy — “Fingers On My Side”
St. Louis indie rockers Hot Joy are bringing back classic 2000s indie. The song is simple and joyous, one you can throw on with friends and bob your heads along to while sitting in a park. The grocery store imagery gives the song a playful energy, not meant to be taken too seriously, but remaining incredibly enjoyable. The guitars are smooth and groovy, the drums are hazy and dreamy, and the vocals have that classic indie sleaze sound that makes the song instantly addicting. — Venus Rittenberg
Ken Pomeroy – “Cicadas”
Any fan of grounded, rootsy country music should get Ken Pomeroy on their radar immediately. “Cicadas,” the latest from the Oklahoma-raised artist of Native American heritage, would slot into a playlist stacked with cuts from Kacey Musgraves’ Golden Hour or a stripped-down Maggie Rogers tune; when the harmonies weave together and overlap towards the end of the song, it feels like sunshine itself. Pomeroy explained that the audio loop was the result of a delay in her headphones, but you’d be hard-pressed to find a happier accident this week. — M. Siroky
Lip Critic — “Milky Max”
The latest release from New Yorkers Lip Critic is a wonderful blend of electronic and punk. Reminiscent of fellow New Yorkers Model/Actriz, this song sees the band utilizing noise and breakbeats components with borderline new wave vocal stylings, all of which lead the song to be immediately catchy and incredibly memorable. The way vocalist Bret Kaser comes in on the chorus with “All my life/ I just wanted to live” hits like a cannonball to the chest. The vocals throughout the song are punchy, dynamic, and sharp. The electronic beat is wild and aggressive, throbbing with energy and demanding attention. — V. Rittenberg
Low Hum — “Only If You Say So”
Upon first listen, Low Hum’s “Only If You Say So” sounds like a cut from an alternate universe where Thom Yorke went a more club-friendly route with his electronic work. With its falsetto vocals and ominous synth pads, the tune sets up a visceral and futuristic vibe, one that ultimately explodes into fuzzed-out madness that makes you feel like you’re taking on an epic final boss. It’s a compelling, dynamic, deeply satisfying composition, and it bodes well for Low Hum’s upcoming album, Terra Incognita. — J. Krueger
Microwave — “Bored of Being Sad”
Nashville alt-rock band Microwave is back with another single from their upcoming new album, Let’s Start Degeneracy, and the song’s title alone shows that it is worthy of attention. The song features wonderfully chill guitars and a classic indie drumbeat that fills a listener with nostalgia for a simpler time. The lyrics are where the song really shines, though. It is immediately apparent from the first few lines that the song is an emotion-packed jam: “Call the bastard up and buy him lunch/ Let’s talk about the future, how I’ve grown to feel so little love.” The song is melodramatic yet detached from its own sadness. — V. Rittenberg
Ray Vaughn — “Problems” ft. Pusha T
It’s no secret that we here at Consequence love us some Pusha T. So, whether it’s a new solo cut or a feature, we are emphatically there. Luckily, this time around, the artist he’s supporting is able to match the master in everything from on-mic charisma to hard-as-hell bars. Ray Vaughn bursts out of the gate with palpable urgency, like if he doesn’t get these thoughts off his chest he might just buckle under the pressure. Pusha’s verse midway then serves to make a great that much greater. More Vaughn and Pusha collabs, please and thanks. — J. Krueger
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Song of the Week: SZA’s Musical Universe Expands with “Saturn”
Mary Siroky and Consequence Staff
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