How do you make Solange Knowles’ latest album honor Houston more than it already does? You let DJ AudiTory chop & screw it.

A week ago, Solange Knowles released When I Get Home, the highly-anticipated follow-up to her acclaimed 2016 effort A Seat At the Table. After teasing its rollout by bringing back BlackPlanet in Black History Month, the project arrived on a whim and was followed by listening events throughout the city of Houston that following Sunday – one of which (the one at SHAPE Community Center) Solange herself and various other guests including Bun B and Letitia Wright popped up at.

For many, Knowles’ latest is a bit… artsy. It’s a homage to her home turf right down to its interludes being named after select streets in Third Ward. But unlike its predecessor Seat, which drew heavily upon soul elements, When I Get Home uses jazz, funk, and airy sounds, with obscure references (an interview snippet from Diamond & Princess during their Crime Mob days, for example) and nods to the belated DJ Screw when certain records slow down or Screw himself is shouted out. The 19-track effort is seamless, cosmic even, in the way that listeners can’t always detect transitions between the songs. That’s led to split opinions on the album early on.

Perhaps DJ AudiTory might change people’s minds about that, though.

The Houston DJ’s Chop Theory series of dripping out popular album releases in purple has been featured here on Day & A Dream many times before, most recently when he Chopped & Screwed Travis Scott’s Astroworld LP. And seeing as how Tory had already chopped & screwed A Seat at the Table two years ago – to the point of national acclaim, at that – it seemed only right that he’d do the same for When I Get Home. And that’s exactly what he did.

What DJ AudiTory’s chops do best for When I Get Home is change the makeup of certain songs completely. The bouncy fan favorite “Stay Flo” becomes something Screw himself might smile upon, for example, slowed down to the point that it’s carousel music accompanied by Styrofoam cups. Tory’s chops transform the synth-and-snare-powered “Almeda” into something more soulful than Southside. “Binz,” which sounded bossa nova-esque on the album, becomes an R&B intro in Tory’s capable hands, with the horns holding court in the background. It’s even a nice touch that Tory’s Chopped & Screwed version of the intro track “Things I Imagined” amplifies the Southern twang in Solo’s voice, so that some of those “things” sound more like “thangs.”

Don’t be surprised if you have a new favorite song on When I Get Home just because the Chopped & Screwed version made you notice something there that you didn’t catch on the original. You can run DJ AudiTory’s take on Solange Knowles’ When I Get Home LP for yourself down below. You can grab his Chopped & Screwed ‘When I Get Home’ for yourself off the DJ’s Bandcamp page.