Kali Uchis makes albums you live inside. Sincerely, (May 9, 2025) is the quiet-room one: strings like a curtain draw, bass that walks rather than sprints, a voice held inches from the mic that treats intimacy as craft, not spectacle.
She’s just switched to Capitol, she’s writing after giving birth and losing her mother, and you can hear both the new gravity and the wish to keep the windows open.
The sequencing favours sway over shock; the hooks don’t shout, they settle. That’s a choice, and it suits the record she wanted to make.
It begins with a welcome mat. “Heaven Is a Home…” is velvet lighting and soft orchestration; the lyric is safety with a catch.
From there, the front third behaves like a slow-dance reel. “Sugar! Honey! Love!” is feather-light without ever drifting away, “Lose My Cool,” nudges the tempo with a small grin, and “It’s Just Us” is exactly that; two people, low stakes, everyday tenderness.
When she leans into guitar, the songs breathe deeper: “For: You” has a lovely glide in its chord moves, “Silk Lingerie” is perfume and side-eye.
These early passages are where you feel the band arrangements paying rent with the brushed drums, tremolo, keys that blur at the edges, so her breathy phrasing can do the close-up work. If you’re waiting for fireworks, you might get antsy; if you’re happy in a warm room, this is bliss.
The record needs a cut that tightens the spine, and it finds it with “Territorial” and “Fall Apart,” back-to-back.
The first gives you a firmer rhythm seat; the second is the show-stopper, the spot where her top line blooms and the band lifts with her.
“All I Can Say” is a late-night note passed across a table, shining with a retro charm. “Daggers!” adds a little fang without changing the weather; sleek groove, strings that gleam, and a lyric that plays playful without turning coy.
That’s followed by “Angels All Around Me…,” where you can hear grief-and-gratitude ;however, it isn’t maudlin, it’s affectionate.
“Breeze!” drifts like its title; pleasant, maybe too polite for some ears, but the bassline keeps it on its feet. By the time you reach the final stretch, she’s quietly set the table for the two strongest late-sequence songs.
Those two are the ones she teased in the rollout, both placed at the back as if to reward patience. “Sunshine & Rain…”walks in with a home-movie warmth and a melody that circles in soothing loops, while “ILYSMIH” reads like a direct note to the life that just changed hers; the phrasing is newly soft around the edges, and the cadence sits right in that liminal space between lullaby and vow.
The single chronology checks out, lead in March, second single in April, both glued to the album’s close, and it’s smart: you arrive at them with the rest of the story in your head.
The deluxe arrives today and doesn’t blow up the room; it adds five songs that extend the album’s promise-keeping theme without breaking the mood.
“Cry about it!” with Ravyn Lenae is gossamer harmony over a doo-wop wink, “Whispers of the Wind…” is twilight-window music, and “Pretty Promises,” with Mariah the Scientist, is the clearest new statement: she sings, “If I gave my word, I can’t go back,” and you believe her because the whole album has been building a world where that line holds.
“Cherry On Top” and “All of the Good” are exactly what they say on the tin: dessert and a final check-in before lights out.
If you liked the core record’s glow, the P.S. is a sweet after-scene; if you wanted sharper edges or club tempo changes, you may still be left wanting.
What works best is the way she sticks to a palette and still finds variety inside it. Listen to how often the guitars carry the mood changes instead of a beat switch; you notice how frequently the bassline tells you whether a lyric is flirt, reassurance, or quiet ache.
The singing is in control even when it sounds barely there; on “Fall Apart,” she finally lets the runway lengthen, and it’s thrilling because she’s rationed that energy.
Where it stumbles is exactly where detractors point: a couple of mid-album pieces skate by on velvet rather than a knockout chorus. But the choice feels intentional—the album plays like a kept promise rather than a highlight reel.
Sincerely, is 14 tracks, released May 9, 2025, via Capitol, supported by “Sunshine & Rain…,” “ILYSMIH,” and “All I Can Say.” The record opened at No. 2 on the Billboard 200 and has been sitting in the mid-80s/7-to-8 range across aggregators since week one.
Sincerely: P.S. expands it to 19 with five new songs, “Cry about it!” with Ravyn Lenae, “Whispers of the Wind…,” “Pretty Promises,” with Mariah the Scientist (Benny Blanco & Cashmere Cat on the boards), “Cherry On Top,” and “All of the Good”—and lands today after a sold-out arena run.
Fans have been warm and occasionally spiky in the usual places. The big [FRESH ALBUM] thread on r/popheads flags the album’s slow-to-glowing arc and the idea that the obvious “singles” sit at the back; others wish for more BPM variance or a few fewer slow-burners.
That’s the split you’d expect when a record picks a mood and stays there. For my money, that’s the record’s charm—you can play it straight through and feel your pulse drop without losing interest.
Here’s the track list exactly as it appears on the deluxe album:
- Heaven Is a Home…
- Sugar! Honey! Love!
- Lose My Cool
- It’s Just Us
- For: You
- Silk Lingerie,
- Territorial
- Fall Apart
- All I Can Say
- Daggers!
- Angels All Around Me…
- Breeze!
- Sunshine & Rain…
- ILYSMIH
- Cry about it! (ft. Ravyn Lenae)
- Whispers of the Wind…
- Pretty Promises (ft. Mariah the Scientist)
- Cherry On Top
- All of the Good
Bottom line, Sincerely treats domestic life as a source of warmth, not an afterthought. It’s less about peaks than pressure, the steady warmth of being known, the ache of memory, the relief of a baby finally asleep in the next room.
The deluxe doesn’t shift the centre; it signs the card. If you want hard corners and big swings every three minutes, this isn’t that album.
If you want to feel time slow down without feeling sleepy, it’s an easy recommendation and one of her most replayable records to date.
You might also like:
- Is It a Crime by Mariah the Scientist & Kali Uchis — lyrics breakdown and context around their collaboration
- Billie Eilish’s “Wildflower” — a close read of guilt, memory, and soft-focus storytelling
- Chappell Roan — “Pink Pony Club” — how queer joy and pop theatre fuel a breakout
- Lana Del Rey — “Love” lyrics breakdown — youthful awe with old-Hollywood glow
- Tems & Asake — “Get It Right” — Afro-fusion craft, rhythm, and mood
- Justin Bieber — SWAG II album review — vows, family, and bright R&B textures
