{"id":876,"date":"2022-02-25T20:26:56","date_gmt":"2022-02-25T20:26:56","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-2-25-sasami-takes-on-the-complexity-of-self-in-squeeze\/"},"modified":"2022-02-25T20:26:56","modified_gmt":"2022-02-25T20:26:56","slug":"2022-2-25-sasami-takes-on-the-complexity-of-self-in-squeeze","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-2-25-sasami-takes-on-the-complexity-of-self-in-squeeze\/","title":{"rendered":"SASAMI Takes On the Complexity of Self in “Squeeze”"},"content":{"rendered":"
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By Nia Tucker<\/strong><\/p>\n

SASAMI\u2019s (she\/her) biggest track to date, the lo-fi \u201cTurned Out I Was Everyone,\u201d is a desolate chant lamenting the fact that loneliness isn\u2019t a singular or unique experience and how that very thought exacerbates one\u2019s loneliness in a paradoxical loop. It repeats \u201cThought I was the only one\/ Turned Out I Was Everyone,\u201d in a haunting manner as the song builds towards a synth sound. In her new album, Squeeze<\/em>, she steps out of that looped existential crisis, and creates a distinctly individual work that has her exploring new genres that range from metal, to classical interlude, to 70\u2019s revival as she reckons with her full-range of emotions as a woman of color. <\/p>\n

\u201cSkin a Rat,\u201d the album opener, is a pleasingly violent track that has SASAMI living out a fantasy of revenge and destruction. It starts with a child singing tauntingly, \u201cthere are many ways to skin a rat,\u201d before it explodes into heavy rock with all the works. Condemning a \u201chell fire economy,\u201d screaming hoarsely about \u201ccrisis identity,\u201d and threatening to destroy the powers that be with a \u201cbig, big boot.\u201d The song was released as a single along with a majority of the 11-track album; other songs such as \u201cSorry Entertainer,\u201d and \u201cSay It,\u201d gave a sneak peek into her metal capabilities and the strong sense of self and complexity that was hiding in her previous works. <\/p>\n

The album fluctuates between these unyielding heavy metal tracks and sing-around-the-campfire, 70\u2019s songs reminiscent of Carole King\u2019s sincerity and more saccharine in tone. <\/p>\n

SASAMI balances the two, intertwining the vastly different genres into one whole. In her essay \u201cUses of the Erotic,\u201d activsit and writer Audre Lorde says:<\/p>\n

\u201cThe erotic has often been misnamed by men and used against women. It has been made into the confused, the trivial, the psychotic, the plasticized sensation\u2026The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire.\u201d <\/p>\n

On Squeeze<\/em>, SASAMI is reckoning with this duality. Should she be the siren-like, strong-willed and angered voice that she is in standout track \u201cSay It,\u201d or the regretfully sympathetic and desperately in love voice she takes on in \u201cThe Greatest.\u201d These ideas battle one another, amalgamating chaos and passiveness into a work that is wholly erotic in its reclamation and bravery in expressing any and all emotions without fear of weakness.<\/p>\n

The song\u2019s first single \u201cSorry Entertainer,\u201d a metal cover of folk experimental artist Daniel Johnston\u2019s original discordant, playful deep-cut, was successful in that SASAMI was finding her footing in a genre largely occupied by vicious white men. It erupts in a loose cacophony of guitar, screams and bass that is indicative of what women of color have to bring to the genre. Aside from this, the other songs read as more formulaic, which makes sense considering SASAMI\u2019s background in orchestral music at the Eastman School of Music. Each track makes you feel as if there could have been just one more step outside of itself for it to be perfect; they lack the level of mayhem that could make them more appealing rock songs. <\/p>\n

The album\u2019s themes become more clear in the title track, which is a fusion of the sweetness of some tracks, and the darkness of others that coalesces into a trippy exploration of self as she and featured artist, No Home (they\/them), echo one another singing, \u201cI can transform \/ I can conform \/ Liquid body \/ I just wanna be \/ Free, free, free.\u201d <\/p>\n

SASAMI has reached that \u201cinternal sense of satisfaction\u201d as an artist that Lorde describes, but at the same time, song structure often holds her back.<\/p>\n

Regardless, Squeeze<\/em> makes you excited for what SASAMI has to come for the rest of her career, as it\u2019s clear that her talent can take her across genres with ease. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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