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"Broken Clocks" is a song by American singer and songwriter SZA. It was released as a promotional single on June 2, 2017, from SZA's debut studio album, Ctrl (2017). It was then later sent to Urban contemporary radio as the album's fourth single (third radio single).[1] It was written by SZA and producer Cody "ThankGod4Cody" Fayne, as well as embodying portions of "West", written by Thomas Paxton-Beesley, Adam Feeney and Ashton Simmons and performed by River Tiber.
Background
The song was released a week ahead of the album's release, as a promotional single on mainstream music platforms.[2] It is a follow-up of the songs "Drew Barrymore" and "Love Galore", both of which are released off the same album.[3]
Critical reception
Jon Pareles of The New York Times wrote: "'Broken Clocks' enfolds SZA amid blurry keyboard tones and a watery sample of men's voices as she ponders memories of an old romance that still haunts her."[4] Joshua Espinoza of Complex magazine regarded the song as "a mid-tempo cut about optimism and perseverance".[5] Lauren Ziegler of Consequence of Sound wrote: "'Broken Clocks' is slinky and laid back, with confidence and sensuality dripping from each note. Though more energetic and pointed than the minimalistic 'Love Galore', it still retains a kind of sleek raspiness so unique to the Top Dawg Entertainment artist's sound."[6] Desire Thompson of Vibe magazine wrote that SZA has "proven herself to be a talented storyteller between harmonious melodies" and "finds a creative way to highlight the plight of a topsy-tuvy love" with the release of this song.[7] Adelle Platon of Billboard magazine described the song as "nostalgic",[8] while Navjosh of HipHop-N-More described it as a "soothing mid tempo ballad which is sure to get numerous plays once you start listening".[9] Darby McNally of Paste magazine wrote: "'Broken Clocks' is a cool, smooth tune with a hint of modernity, a combination that is beginning to be SZA's calling card."[10] Tom Breihan of Stereogum wrote that the song is "a bit of a departure from the hazy sounds of SZA's past work" and has "gasping synths and trap hi-hat skitters, and puts her breathy, expressive vocals in a more commercial light."[11]
