IN A WORLD WHERE PEO­PLE OF­TEN FIND THEM­SELVES FEEL­ING OVER-STIM­U­LATED, Char­lotte Day Wil­son turns to slower mu­sic for a sense of calm. “There’s so much stress in our ev­ery­day lives, the last thing I would think of do­ing is putting on house mu­sic to walk down the street,” she says. “I love dance mu­sic and I love go­ing out, but it’s all about find­ing a bal­ance. I lis­ten to some­thing that will coun­ter­act stress and anx­i­ety, and I guess that comes out in my own mu­sic as well.”

Wil­son’s lat­est EP, CDW, plays to such moods with its smooth, soul­ful blend of jazz and R&B, but she’s not averse to some­thing more up­beat. Hav­ing grown up on the mu­sic of Mo­town, the Toronto na­tive started ex­plor­ing R&B in her teens, cit­ing ev- ery­one from Erykah Badu to Omar­ion as in­flu­ences. But as a vo­cal­ist, pro­ducer and multi-in­stru­men­tal­ist, Wil­son would rather not be con­fined solely to the blos­som­ing alt-R&B scene she’s been iden­ti­fied with.

“I still don’t re­ally con­sider my voice an R&B voice — I feel that’s a bit lim­it­ing,” she ad­mits. “When I was 18, I put out an EP and it was very folk-in­flu­enced; I was ob­sessed with Feist, Fleet Foxes and Bon Iver at the time. I don’t think I’ll stick [with] R&B for my whole ca­reer. I would love to have the kind of ca­reer where one al­bum is a cer­tain style and the next is another.”

Wil­son has demon­strated both her power and ver­sa­til­ity as a vo­cal­ist within a short pe­riod of time this year. Early sin­gles “Af­ter All” and “Work,” both of which are in­cluded on CDW, demon­strate an at­ten­tion to phras­ing and har­mony re­spec­tively, while a guest ap­pear­ance on BADBADNOTGOOD’s IV saw her cap­ti­vate lis­ten­ers through nu­mer­ous key changes on the sul­try “In Your Eyes.”

“Ev­ery time some­one in­tro­duces me to some­one else as a singer, and I get asked ‘ What kind of mu­sic do you sing?’ I usu­ally say it’s in­formed by soul mu­sic, but not that alone,” she says. “I think it’s hard to de­scribe to some­one what your own voice sounds like, even if you’ve heard it played back on record­ings.

“I sing the way that feels best: where I can feel all the res­onat­ing fre­quen­cies through­out my body and have things come out in a way that gives me chills.”

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