It wouldn’t work if not for the scattered rhythms she sings it in, the breathy overlapping voices, and the incredible restraint in the production, which all speak to a state of profound emotional directionlessness better than a minor key ever could.Ĭlaire Biddles: I think I find pop self-help narratives isolating because they’re never really about autonomy - they’re about going out with the ladies, finding someone to fuck, relying on other people to tend to the symptoms rather than addressing the problem oneself. Coping mechanisms, brutally exposed in plain language with few lyrical frills to soften them - something about her soft, love-song delivery makes stark lines like “I slept it away, I sexed it away, I read it away” into unforgiving gut punches.
CRANES IN THE SKY LIVE FULL
Tim de Reuse: Across a heavenly, sparse beat, full of tickly background elements that almost resolve into motifs or melodies or tonal centers but stay just out of reach, Solange sings about grounded things. As soon as it’s over, I can already hear it echoing in my head, waiting to fade in again. Then we have Solange’s delicate vocals: they come in lightly and caress until the finish. Lyrically, it’s simple in terms of structure, which again allows our ears to simultaneously guess at and expect the next line. That initial hum and rhythm fades in as if it were emerging from a forgotten memory. Olivia Rafferty: Sometimes a song arrives which doesn’t feel like it’s been written, but instead unearthed.
Email (song suggestions/writer enquiries).Follow her on Twitter at a vinyl copy of Solange’s A Seat at the Table at the OKP Shop. Sofiya Ballin is a writer and Features Reporter at the Philadelphia Inquirer. The “it” may not go away, but we keep going. There’s freedom and peace in knowing that you won’t know. In that moment, she’s letting go of control.
Upbeat syncopation with mellow strings and vocals highlight the victory in the loss.Īt the end of the song, Solange hits a piercing falsetto. It manages to be joyous and melancholy at the same time. What people love more about Solange’s siren song is that it’s a chameleon. You may never be the same as before.Īnd it’s okay. This me has battle scars that she has to live with daily. “Cranes in the Sky” reminds you that there is an “it” you carry around, that you don’t always get the answers and that you don’t always get closure. A stirring you can’t quite put your finger on, so you feel everything and nothing at the same time. She makes you feel something complicated. It’s uncomfortable and unsettling because there’s absolutely no closure. But she’s letting you know there will still be scars. Solange’s voice is soothing, a balmy dressing for the lacerations. What “Cranes” reveals is that time doesn’t heal all wounds, but instead you learn to live with the gashes. And I had to face the reality: some of it may never go away. The working, the traveling, the physical changes weren’t going to make it go away.
I was holding on to a lot of anger, insecurity, unnecessary expectations for myself and other people and a lot of pressure.
CRANES IN THE SKY LIVE HOW TO
An idea of what I thought love and life was supposed to be and when I found out otherwise, I didn’t know how to deal. It was after playing the song on several Sundays over refilled tea cups and a battered journal that I realized I was grieving. It could be depression, mourning, or feeling lost. Sometimes I don’t want to feel those metal clouds. I just needed her to tell me what worked. I needed to know, because if she could get rid of “it,” then I could, too. She exposed something in me but wasn’t handing me the answers. I kept looking for an exit and Solange, like a goalie, blocked every shot.
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