Sx3H.W.A #3: DUA SALEH “ROSETTA”

Dua Saleh is not here to fuck around. The Sudan-born, Twin Cities-based artist has proved that they are a force to be reckoned with since the release of their Nūr EP in January of 2019, and their follow up, ROSETTA, is no different. The ROSETTA EP, released in June 2020 on Against Giants, is a triumphant sophomore effort from the impeccably talented Dua Saleh. The rapper/singer, alongside producer Psymun, combine dreamy synths with beautifully haunting lyrics and Saleh’s unique, smoky voice make for a record that is delightfully eerie in the best possible way.
The EP opens with the imagery-heavy “cat scratch,” conjuring up pictures of a bloody cheek, a toothless raptor, fields of flowers, and torn skin over a trance-like beat. “cat scratch” is a hell of a starter, and it sets the tone for the adventure that is the next fifteen minutes and thirty-eight seconds. On “cat scratch,” Saleh is able to invoke almost all five of the senses, which is an experience you don’t get from a song very often. From “a whiff of weed” to the feeling of “defeated muscles,” the journey this track embarks on is as physical as it is mental.
The EP’s second track, “umbrellar,” was one of two songs released before the rest of the album. It was a great taste of what was to come. Decadent and lush, “umbrellar” is probably the poppiest track on the album, if only thanks to the instrumentals. The track is dark and sensual while still keeping an upbeat energy. Saleh’s voice adds a sweet edge to the lyrics, which invoke some witchy themes with references to riding on brooms and casting spells. This song is my favorite on the EP and I’ve found myself listening to it on repeat over the last few weeks.
At four minutes and five seconds, the third track “smut” is the longest, and in my opinion, strongest song on the EP. This song has a lot going on, and amazingly, all of it works. Saleh’s vocals come across very dominant and commanding in the first verses and chorus, and their power and prowess is more evident than ever before. The song drips sex appeal, and that’s incredibly special to hear from a Black, non-binary artist. They really seek to challenge heteronormativity and gender roles, and I think this song is a great anthem for that. I really like the lyrics here as well, there’s something poetic about lines like, “licking the lozenge of lust,” and “everyday I’m growing into you,” that absolutely cannot be ignored. “smut” changes its tone about halfway through, when Saleh begins singing a refrain in their native Arabic. Their vocals are absolutely breathtaking here, warm and comforting, flowing almost like a lullaby.
“windhymn” a masterful display of Saleh’s vocal talents, is the eeriest song on the album. The vocals float like, as the title suggests, the wind. This track is a cinematic, hypnotic delight. Saleh’s winding, flowing vocals swell over a repetitive synth that almost reminds me of being in a haunted house, and the hand claps in the middle give it a slightly jazzy feel. This song somehow feels vintage and modern at the same time. It feels a little like a callback to the era of the album’s namesake, the mother of rock and roll, the incomparable Sister Rosetta Tharpe. It’s sweet yet sensual, and welcoming yet foreboding. “windhymn” feels perfect for a film score or a dark, smoky club.

On “hellbound,” we hear from a different side of Dua Saleh. Lucifer LaBelle is a bold, devilish figure who owns their sexuality and doesn’t care who knows. Lucifer LaBelle will steal your girl if you aren’t careful. It’s wicked in a tongue in cheek way, which reminds me a lot of Screamin’ Jay Hawkins’ “I Put A Spell On You.” After demanding to be called “Hades of the Grim,” Saleh/LaBelle croons, “I ain’t no angel,” and if that ain’t the truth. Here we have a queer person seducing whoever they want, calling upon images of Hell and Satan and fire and brimstone. It’s enough to make a suburban housewife clutch her pearls. I love it. The beat gyrates, and the lyrics are so dominating and demanding that it makes you want to fall under Lucifer LaBelle’s spell, too.
ROSETTA’s closing track, “bankrupt,” switches up the whole vibe. It’s an incredibly vulnerable and earnest, dare I say, ballad. Saleh really bares their whole soul to us here. The soft, lullabyesque synth of earlier tracks returns, but something’s different here. “bankrupt” isn’t “smut,” and it’s not the voice of Lucifer LaBelle. As a self-described empath, I really resonate with this side of Dua Saleh. There’s no fanfare, just a human being. The themes of poverty and love and survival show just how multifaceted of an artist Saleh is. They are putting their heart on the line, singing, “Baby, can’t you be with me? I want nothing in between.“ It’s a feeling most of us know all too well, and Saleh’s voice with Psymun’s beat feel like a soothing hug from a friend. “bankrupt” is a great closer for this record, and it leaves you yearning for more.
As someone who greatly enjoyed Nūr, I was really excited and hopeful for whatever Dua Saleh released next. They shattered every expectation I had. ROSETTA is like a raw diamond, sparkly and valuable, yet rough and unpolished, but still incredibly beautiful. The only thing missing from this EP was May’s gut-wrenching, powerful single “body cast,” released in response to the murder of George Floyd on Memorial Day and the subsequent uprising in the streets of Minneapolis. Even still, I understand why it’s not here. It’s a whole other beast, and Saleh kindly donated the proceeds from “body cast” to the wonderful folks over at Black Visions Collective. ROSETTA is one of the best sophomore projects I’ve heard in years, and I am so ready for whatever they put out next. (I’m keeping my fingers crossed for a full length.) Dua Saleh is everything music needs right now. Ready or not, they’re here to stay.

Review by: Liz Brooks, Writer @easytargetmpls

Edited by: Andrew Perrizo, Owner @PlaylistTC