Rooted in the social, the political, and the racial, the set was showered with praise from critics and the culture alike and is largely hailed as a musical mirror of black pride. It also earned the 32-year-old her first Grammy Award (Best R&B Performance for ‘Cranes In The Sky’).
Now, the eclectic songbird has revealed that she’ll be hatching its follow-up this Fall.
Confirmation about the as yet untitled project was shared during a resonating profile feature on the star by the NY Times.
Initially, the info shared was drip-fed…
“She has come to this spare, meditative place to put the final touches on her album. What’s it called? How many songs are there? Who did she collaborate with? How will she tour it? The album’s release is imminent this fall, probably sometime soon. But, even within this studio, Solange keeps these details close: The record will likely arrive into the world fully formed at some mysterious and unexpected moment, like a meteor cratering into the culture. But she will not be rushed.”
The new album calls. The making of it has taken Solange to New Orleans (where she often lives), Jamaica, California’s Topanga Canyon and back to a kind of Houston of the mind. “There is a lot of jazz at the core,” she emailed me a few days after our meeting. “But with electronic and hip-hop drum and bass because I want it to bang and make your trunk rattle.” The sound and feel of the album are set in her mind, but this project, so close to being finished, is still very much in progress — and will be until the very end. “I like to be able to tell the story in 13 different ways, then I like to edit,” she says of her process. Many of the songs on “A Seat at the Table” were 15 minutes long until the final stages of production, when, with surgical decisiveness, Solange cut them down to three or four. She’ll do the same as she completes this yet unnamed album. The record will be warm, she says, fluid and more sensual than her last one. But, seasoned as she is, she’s still nervous. “I have this fear living in my body about releasing work,” she says. “I don’t know any artist that doesn’t feel that before they hit the send button.”
Naturally, then, we’re eager to dive into the pool of newness she has incoming.
Sonically, as ever, it sounds like she’s pulling from a unique mix of influences. Our primary hope, though, is that she picks up the pace a little from her last project.
‘True’ remains our most played Solo set – thanks largely to its balanced blend of the uptempo, the mid-tempo, and slower numbers.
And while it’d be almost asinine to long for the same sound (especially with an act as unpredictable as Solange), we see little issue in her pulling from a similar framework.
In any case, enough of our rambling. What are…