Neo-Sol: A traditional approach to a new genre

The transition from Soul to Neo-Soul was originally driven by marketing incentives. It was an important time for rediscovery and reinvention, as the Motown tradition was losing its luster due to the aging of the legend and the growing popularity of radio-ready R&B. So, with the release of D’Angelo’s “Brown Sugar,” the old category was renamed “neo-soul.”

The purpose and instrumentation were the same, with virtually no major differences other than the hip-hop and adjacent drum loops. What changed was the generation. For young fans looking for something to rival the masters of the 60s and 70s, it was a familiar body given a new face and a youthful glow.

Parent Soul boasted Marvin Gaye, Minnie Riperton, The Main Ingredients, and The Fifth Dimension. Children of neo-soul include Erykah Badu, Maxwell, Ms. Lauryn Hill, and even artists who acknowledge their DNA of origin under the name Musical Soulchild.

The current stage of the genre is its grandson, and would probably be more accurately described as “neo-neo-soul.” Echoing the changes of past eras, 21st century babies are claiming the superheroes of their souls, along with the Internet, Solange, Lianne La Havas, Hiatus Kaiyote, and more. Their music is characterized by rich compositions and poems that focus on the wonders of nature, giving the listener peace of mind like the freshness of an overflowing spring. The eternal flame that makes the soul dear is always brightly lit and tended by the guidance of these artists.

Joining the new generation is Cleo Sol. Raised by jazz musicians in the Grove district of Ladbroke in west London, this singer and song writer began her career as a vocalist in 2008 with the single ‘Tears’, where he featured Tinie Tempah. . After a long hiatus in the mid-2010s, they re-emerged in 2018 with the EP Winter Songs.

Since then, her identity has become inseparable from the influence of collaborator Infro, who single-handedly produced all of her studio albums and introduced her to British R&B collective Suit. The partnership formed between the two captivated listeners through songs with easygoing rhythms and charming bass lines, perfect for slow days or quiet nights.

She comes on the heels of 2020’s Rose in the Dark and 2021’s Mother, linking three eras of soul together stronger than ever. She delivers a definitive two-album package that proves that she is a soul musician of the highest caliber, regardless of her decade, trends, or context. The British vocalist broke through by tearing off every brick in the wall.

“Heaven” and “Gold” Released in less than two weeks in September 2023, it emphasizes quality over quantity and personal songwriting over dishonest hit-chasing. They form two experiences that seamlessly interweave with each other, but also stand alone as pillars of achievement.

The song “Life Will Be” could be mistaken for a cut of Marvin Gaye’s “What’s Going On” due to the backing vocals, which are instantly reminiscent of “What’s Happening Brother.” The title track “Gold” has a bouncy bassline, creating a heart-pounding effect that could have been created by Tony’s Rafael Sadiq. Toni! tone! In the late 90’s. “There Will Be No Crying” and “Airplane” have the same restrained tenderness that Liang La Havas displayed on “Liang La Havas.”

Cleo celebrates soul tradition through and through, building a robust wall of sound achieved through careful studio performances and perfectionist sound design. As a producer, Inflo deserves to be commended again and again for the clarity she contributes to Cleo’s creative voice.

Cleo Sol does not create such connections derivatively. Artists this close to her influence can fall into the dangerous territory of creating tired repetitions and overly familiar melodies and rhythms. She delivers everything from the bouncy vocal inflections of “Miss Romantic,” to the soaring clave of “Nothing on Me,” to the descending high-octave piano of “In Your Own Home.” This mistake is avoided by the overwhelming sense of life of all the instruments. . She does not lag behind her contemporaries, but fearlessly surpasses them. She adds her great personality and perspective from the healing spell of her lyrics.

The album’s common theme of self-love shines through in the aptly named songs “Self” from “Heaven” and “Life Will Be” from “Gold.” She sings to God in the former, asking for a higher power to “save me from myself/Be kind to myself.” In the latter, she sings to herself and her listeners, “I just want you to believe in you,” she hopes.

Although seemingly contradictory, these are elements of the process that Cleo Sol documents throughout both albums. It is by no means a cause of the desired inner peace, nor is it a cause of self-destruction. Her intention to write songs true to God alongside love letters to the human experience reveals the difficulty of separating true love and true healing from chaos. Her response comes not just from loving herself, loving God, and being dependent on others, but from opening her soul to all three forces.

It has remained the traditional essence of soul music in many forms since its inception. It was as essential in the early days of Motown 60 years ago as it is today. And when a musician is able to enjoy that message through the textured history of the genre, in the space of their own great presentation, we, as listeners and humans, can connect with something irreplaceable: the soul. Direct, pure love is given. Cleo Sol only repeated that gift twice.