Brazilian-Norwegian artist Charlotte Dos Santos is back with “Neve Azul”, her first project in three years. She talks the impact of motherhood, finding a new perspective, and working with Blood Orange.

There’s a natural and effortless magnetism to everything Brazilian-Norwegian artist Charlotte Dos Santos touches. Emerging in the latter years of the 2010s with a wonderful debut project Cleo, before cementing her acclaim as one of soul’s most transcendent performers with 2022’s Morfo, Dos Santos took some time away from the spotlight to live a little. She became a mother. 

Now, she can’t remember what it was like to not have her child. She returns to artistry renewed, replenished, with a fresh perspective on life and music alike. New EP “Neve Azul” is a paradigm of her growth; shared via her own label True Node, the five-pronged opus is a subtle collection of sumptuous cuts that mediate metamorphosis and self-reflection, told atop rich, luscious instrumentation.

Below, Dos Santos speaks to Wonderland about embarking on a new chapter, the influence of roots, and collaborating with creative whizz Dev Hynes.

Listen to “Neve Azul”…

Read the interview…

Congratulations on “Neve Azul”! It’s your first release since 2022 and since becoming a mother. How did this new chapter of your life shape the sound and emotional tone of the EP?

Thank you! In all ways – I don’t even remember who the old Charlotte was. I say it’s like stepping into a portal with no return. It really has helped me trust myself much more and go inwards to listen to what my heart wants to say. I am much more gentle and even more in touch with my feminine side now, so I think the music is much more intimate and raw than before. And playful!

The title Neve Azul — “Blue Snow” — evokes such vivid imagery. Can you tell us more about that moment in the Pyrenees that inspired it, and what “blue snow” represents for you personally and creatively?

I was driving from Barcelona to France where the mountain peaks were covered in snow that looked so blue, it reminded me so much of Norway and my home. Growing up with mixed heritage I was always confused not feeling Brazilian enough or Norwegian enough but this was a moment where I was proud of being both and neither. It’s a tribute to both sides that make me who I am, and I found it so beautiful, that moment. Which reflects who I am as a musician too, I am influenced by so many genres and here you can really hear my love for jazz, soul, bossa and r&b.

The EP feels like a bridge between your Brazilian roots and your Norwegian upbringing — samba rhythms meeting misty northern landscapes. How do you navigate those dualities in your music, and what did that balance sound like on this project?

I think the balance shows up as an amalgamation of who I am as a person.The rhythms being with me since I was a child and the language being Norwegian. My lyrics are quite dreamy and I think that’s my Norwegian side, growing up with fairytales and folklore. Nature has always been important to me too, that’s one thing Brazil and Norway have in common – dramatic landscapes and deep connections to the natural world. I can be quite dramatic too! In a way it’s also my version of samba. I grew up with it mostly on CDs and DVDs, not so much live around me. But I believe heritage runs in our blood, it’s inevitable. It’s there if we start looking.

You recorded Neve Azul entirely live to analogue tape— a bold choice in today’s digital landscape. What drew you to that process, and how did it influence the intimacy and energy of the recordings?

-There is something so special with a band coming together in a room, starting the recording and knowing that we’re live together. We listen better and we are fully connected in that moment. I had been longing for connection through music for awhile and the organic sound you get when you use live instruments. I had been producing and recording myself for years, and now wanted an organic sound. Getting talented musicians to play my songs felt much more special and appropriate for the vision of the music. We all get sharper and know that if we mess up, we have to do the whole song again haha. But it was a beautiful moment that can’t really be recreated again. No edits. One vocal take. I loved it.

“I’ve Been Thinking” introduces this new chapter with such warmth and clarity. Why did you choose that track to lead the project, and what does it reveal about where you are as an artist now?

As an artist, I always had the answers within me. This song is about life and the existential questions we have. It’s about wondering where your life will go and what is written in the stars for you. We question this all the time, we always want to know everything and have full control. But that isn’t life. You’re not supposed to know, otherwise it would be like a surprise party you already knew about. I felt it was a nice opening track because I want people to remember that we always have the power and strength within us to do anything, and sonically it invites you into my dreamworld.

Throughout your career, you’ve blended soul, jazz, and traditional rhythms into something unmistakably your own. On Neve Azul, that fusion feels especially organic — what musical or emotional anchors guided you through this phase of experimentation?

Going back to basics with live instruments the whole way was a big anchor. Emotionally, now that I am a mother I know the feeling of having so much to lose, that you need to give it all you have because life is so precious. Allowing myself to experiment with samba/bossa grooves with no fear, just playing and letting it be what it is.

The EP is described as the first chapter in a larger exploration of matrescence — the transformation tied to motherhood and identity. How are you approaching that journey creatively, and what do you hope listeners take from this?

I can’t remember who the old Charlotte was. Learning about matrescence was incredibly empowering because suddenly everything feels different and you are expecting it to go back to the way it was. When I learned that will never happen, I found so much support reading about the term and found solace in embracing the new person I was becoming. Now that I don’t have as much time I am more efficient when I write, I set aside more dedicated time to music. Everything I do is with my daughter in the back of my mind, so if it’s anyone I want to impress, it’s her. I want it to be timeless so that she can listen to it too. I hope they take away that artists can be mothers and mothers can be artists, too. It’s an enrichment and I think all women become even more genius after becoming mothers!

You’ve collaborated with some remarkable artists, most recently with Dev Hynes. How have those experiences influenced your own creative world and the direction you’re taking with your solo work?

I love being able to work on other artists’ projects. It’s an honor to be invited into someone’s heart and process, and see it take shape and grow as the artists grow. I was so flattered when Dev asked me. It’s beautiful to watch other musicians on their journey with music, and freeing to collaborate that way – it allows me to explore a different side of myself. It makes me think how can this music guide my voice toward its own destination, rather than forcing it toward mine

“Neve Azul” feels both deeply personal and timeless. Looking ahead, what does this era of renewal and artistic self-trust look like for you — and what can we expect from the next chapters in this unfolding story?

I am in the process of recording new music, and I feel like I am diving into fresh water. On my true path towards much joy and excitement. I feel more powerful than I ever have. Knowing I have endless possibilities ahead of me. The music has gentle and genuine, real-life stories. I can’t wait to show you