A Guide to Saint Heron

There’s a lot to be said for being the invisible sibling. After decades of relative anonymity, Solange Knowles emerged last year as the poster girl for R&B’s new hipster leanings. Freed from commercial pressure, she’s indulged in a sound and aesthetic of complete experimentation. The recently released Saint Heron is the album embodiment of all of this: It’s the first release from her new Saint Records label, and it collects tracks from some of contemporary R&B’s most exciting innovators.

Knowles explains that she established her independent record label as “a haven for R&B lovers and listeners to discover music free of marketplace politics.” And the label’s debut serves as comprehensive confirmation that there’s an audience hungry for it. Rather than being a brattish attempt to re-invent R&B, each track pays homage to the genre while toying with the sound at the same time. With so many different names on the compilation, we figured an introduction to just a few was in order.

Solange speaks on the Saint Records site about her desire to grab complete artistic control of her output. So rather than leaning on long-time sound-buddy Dev Hynes, she’s gone ahead and written and produced her own track on Saint Heron (along with one for R&B heavy-hitter Cassie). “Cash In” sees her crooning sweetly over rhythmic cowbells and melancholic beats. As the longest track on the compilation, coming in at just over five minutes, it has an epic quality.

Sounds like: A 2013 update of “Earth Song”-era Michael Jackson.
Where you might hear her next: Headlining Pitchfork Festival? Contributing to a high-brow Radio 4 debate on the future of women in music? The world is her oyster at the moment.
Most likely to sing about: Everything from lost love to the joys of being stoned.

India Shawn is a perfect example of the sort of previously underlauded talent that Saint Heron seeks to highlight. As a member of the Full Circle writing team, she has penned hits for the likes of Chris Brown, Keri Hilson and Diddy Dirty Money. Her solo career began quietly at the end of last year with a debut EP, Origin, but the release remained largely under the radar. “I’m Alive” is one of Saint Heron’s more organic moments and, hopefully, will act as a platform for future solo success.

Sounds like: A classic Stevie Wonder-tinged chanteuse. Plus folky flutes and crackly reggae samples. In other words? Future classicism.
Where you might hear her next: Her Origins EP will be re-released with some new major label clout.
Most likely to sing about: Positivity. Spirituality. Yoga. (Maybe.)

Sampha’s irresistibly idiosyncratic croons first found favour on SBTRKT’s massively successful self-titled debut album. His collaborations with Drake, however, have put him on a world stage. Sampha’s skill, though, is always making the listener feel as though he’s singing to them personally. That intimacy is evident on “Beneath the Tree,” a simple stunner in which maracas and a quiet piano add accompaniment to his scene-stealing voice.

Sounds like: Nobody else.
Where you might hear him next: Having released a second EP back in August on Young Turks, an LP seems to be the next logical step. Fingers crossed.
Most likely to sing about: His feelings.

Kelela has had the music world in a fit of frenzy with the recent release of her Fade To Mind mixtape CUT 4 ME. The spiky industrial sounds of the Night Slugs sister label finally saw her find a spiritual home for her silky voice. She appears twice on this compilation, once in her own right (“Go All Night”) and once as a featured player on Kingdom’s “Bank Head.” On both counts Kelela’s soulful vocal teams with an edgy dance beat, acting as the perfect old/new dichotomy that Saint Heron also embodies.

Sounds like: TLC’s Chilli at her sexiest at a club in London’s Clapton.
Where you might hear her next: At a club in Clapton.
Most likely to sing about: Universal themes – over the sound of an industrial chainsaw.

Logan Eze and Zou Deon are BC Kingdom, a Los Angeles duo who pair global sounds with West Coast beats... and cite the Spice Girls as their greatest influence. Despite this, they have a sound that’s piqued the interest of MIA (who they’ve already supported on tour) and Solange, rather than finding favour with a more mainstream market. Saint Heron opener, “Lockup,” is a brooding creeper that juxtaposes dentist’s drills and menacing synths with dreamily smooth vocals.

Sounds like: Melancholic Prince.
Where you might hear them next: At a high-end fashion show. Or a pan-sexual afterparty. Or MIA’s house.
Most likely to sing about: Champagne. Versace. Heartbreak.

Petite Noir is a modern South African soul artist with guitar rock leanings. But on “Noirse” he’s been dosed up with lashings of daybreak electronica courtesy of Barcelona’s Pional. The Spanish producer does head-tingly things with a track that is already rich with African drums, chirpy xylophone plonks and Petite Noir’s wide-ranging voice. This is the moment where Saint Heron emerges blinking from a moody nightclub into the sunshine.

Sounds like: Laura Mvula on tour with Sex Pistols and The Very Best. Or Blood Orange.
Where you might hear him next: A collaboration with Dev Hynes would be absolutely bloody lovely.
Most likely to sing about: Something dreamy.