By Anayo Eltringham Onuora
Jalen Ngonda’s second studio album sits comfortably in the sweet spot between classic soul and contemporary gospel, combining rich, rippling textures with rounded melodic patterns. Doctrine of Love is steeped in the familiar nostalgia of 60s Motown, yet remains soulful, original, and skilful in breaking free from this template.
The album opens with ‘Anyone In Love’, a well-loved single released two years prior to Doctrine of Love. Floating strings sway over gentle drumbeats in the track’s opening moments before a rolling drum riff melts tenderly into sparkling guitar chords.
However, Doctrine of Love’s title track finds Ngonda in a much more disillusioned state than its predecessor, with wallowing trumpets and a snappy bassline introducing a song that cautiously touches on the trials of romance. “You’ve had the ecstasy with the misery,” Ngonda sings as he reflects on love’s contradictions.
This bout of cynicism is not unfamiliar territory for Ngonda. His debut album, Come Around and Love Me, explores similar themes that serve as the archetype of soul music; his raw, vulnerable lyricism reads like a collection of diary entries.
Yet Doctrine of Love rarely lingers in melancholy for long. After the bruised reflections of the title track, Ngonda shifts back toward a brighter, more hopeful palette that recalls the warmth of his earlier works.
For instance, ‘Mr. Train Conductor’ returns to Ngonda’s usual sunny melodies, opening with a bright electric riff and the hypnotic shaking of maracas. Ngonda appears clouded by delusion on this track, driven solely by the desire to return to his love.
Ngonda’s influences
This longing carries over into ‘Love is Gone’, though it is expressed with far greater restraint and tenderness. The track plays on the softer side of soul, drawing inspiration from the orchestral arrangements of Minnie Riperton and the iconic piano chord progressions of Aretha Franklin.
‘Love is Gone’ serves as a calming interlude between the songs surrounding it, with scatterings of gospel vocals that cushion Ngonda’s rich, fleeting falsetto.
These harmonies also evoke sounds from The Beach Boys, whose signature style blends layered melodies and vocal textures. Ngonda takes these influences and coats them in a modern, retro polish, encapsulating a bright, radiant sound with an underlying sense of heartbreak.
‘I Can’t Ever Leave You’ is jazzy and crisp, softened by familiar gospel backing vocals and sharpened by punchy trumpet flourishes. Ngonda accepts romantic defeat on this track; lyrics such as “No matter how you do me wrong,” and “I just can’t walk away” detail his yearning.
The song later breaks into a Funkadelic-esque guitar solo reminiscent of Eddie Hazel, further amplifying Ngonda’s ability to fuse genres and blur the boundaries of modern soul. This added flair transports the listener back to the genre’s golden era while still feeling distinctly contemporary.
‘Good Good Love’ perfectly encapsulates the traditional Motown sound. Short, staccato drumbeats bounce throughout the track, recreating the expressive nature of classic soul music. Paired with the twinkling brass tones of trumpet horns, Ngonda encompasses the warm, fuzzy feelings that have long defined the genre.
Ngonda’s non-fatal flaw
Despite Ngonda’s successes on Doctrine of Love, the album’s most stand-out single ‘Anyone in Love’ has already been on the playlists of Ngonda fans for years and arguably, its hype has died down. Selecting this single as the opening track is a risky move, especially when listeners are seeking something new and unheard of.
That’s not to say the album isn’t scattered with soulful treasures, but the opening song is predictable, and not entirely refreshing. Perhaps a rearrangement of Doctrine of Love’s track-list would have been a better suit for Ngonda, ensuring a new perspective on his musical craft could have been established.
Although Ngonda’s music functions in many ways as a tribute to the pioneers of soul, Doctrine of Love remains strikingly original. From its musical compositions to the gospel singers backing each track, the album overflows with nostalgia while remaining wholly authentic through its modern arrangements.
In revisiting the past, Jalen Ngonda carves out a sound that is entirely his own.
