SOS – SZA (2022) C Tier

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This album plays in an aggressively average way, with an atmosphere that feels bloated and repetitive — almost like scrolling through the same emotional crisis for 68 minutes straight. SOS is both polished and exhausting, showcasing SZA's vocal talent while burying it under unnecessary runtime and thematic redundancy.

Known for her vulnerability and relatable relationship drama, SZA delivers exactly what fans expect — messy situationships, toxic patterns, and self-sabotage set to expensive production. The project is steeped in modern R&B, pop experimentation, and alternative influences, creating an experience that feels more like a playlist dump than a cohesive album statement.

While "Kill Bill" and "Good Days" became the biggest hits from the album and showcase her strengths with catchy melodies and relatable lyrics, the deeper cuts blur together into a sea of sameness. Most tracks circle around identical themes without adding depth or variation, making the album feel like she stretched three good ideas across 23 tracks when a tight 12-song project would've hit significantly harder.

The production is polished and SZA's voice is undeniably great, but at 23 tracks and 68 minutes, this needed a ruthless editor. The streaming era's "more is more" approach backfires here — length doesn't equal quality, and SOS proves it. Every interesting moment is surrounded by filler that drags the momentum to a crawl, making even standout tracks feel less impactful by sheer proximity to mediocrity.

Overall, SOS will satisfy existing SZA fans who want more of the same and don't mind repetition, but everyone else can just stream the singles and call it a day. It's a bloated, forgettable experience that mistakes quantity for substance. I'm ranking it C Tier — aggressively average and twice as long as it needed to be.

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