There is a spirit of improvisation which ebbs, darts, and skips along on Four Ways to the Sun.
As the debut album of London-based vocalist and songwriter Georgia Duncan outstretches musically, there is such an embrace of the meandering freedom that jazz music embodies. Backed by the notable improvising musicianship of Ruth Goller (bass), Yusuf Ahmed (drums), and Harry Christelis (Guitar), the Clonwell Jazz Social release briskly envelopes the listener with such charm.
Yet, one would be remiss to box the album under the banner of just one genre.
At moments, Duncan embodies the spirit of folk artists like Joni Mitchell or contemporary Kentucky-songwriter Joan Shelley. At other times, there are the sporadic rhythm and blues notions of Norah Jones or New York songwriter Emily King. The heightened space also mirrors moments of Billie Eilish and even Florence + The Machine.
Perhaps this eclectic spirit comes from the process. Duncan has noted when writing with just her voice and guitar, she could imagine how other extended sections, textures and instruments might weave around the framework of an early song structure. But with a shift in songwriting, Duncan’s collaboration with Goller, Ahmed and Christelis provided organic growth, which naturally infused everyone’s own style, influences and experiences.
With this, Duncan’s own songwriting craft expanded the scope of what Four Ways to the Sun could represent.
“Songwriting has always been my way of processing and understanding life, what’s happened, what’s happening and sometimes quite strangely, what’s going to happen…” Duncan says. “I didn’t initially set out to make an album, I just allowed the songs to arrive, later realising they represent a particular time and particular turn of my mind. A big theme of this album is endings – and the questions that bring them about – the process of resisting then surrendering to change.”
As the album kicks off, the upbeat ‘Reasons’ provides a sense of sonic levity. As Duncan’s soft vocals float in through the brisk strum of guitar, there is a dreamlike quality that is so purposeful.
On ‘Linger’, Duncan’s carnal laments are heightened with such drama by the thunderous accompaniment of her band. As drums crash away with a sense of vengeance through the song, slick guitar begins to slowly ascend towards an apex. As that apex nears, a haze of vocal chants creates one of the most stellar moments on the album.
An especially stunning sequence of songs, captured near the middle of the album, highlight Duncan’s ability to strip away and bare her vocals.
Beginning with the mystic ‘Song from a Yew’ and its almost ritual-like presence, the vocalist presents a heightened sense of drama. This continues with ‘Mud Slick & Feather’, as the hushed vocal harmonies and spacious environment create a floating repose.
On ‘Opening’, Duncan’s humble lament of “not easily moved / but something’s opening / forgive the fool who holds his hands in front / saying he can’t open his arms / to someone’s love” feels so approachable in its painted storytelling.
‘The Walls’, with its bouncing drum intro and bobbing accompaniment, drives up the tempo of the album near its conclusion. But suddenly, the chorus wells up into an orchestral crash. “Do the walls feel like safety now?” cries Duncan, echoing the grandeur of some progressive rock ballad.
To close out, ‘Stillness’ rehones the tempered trajectory back down. Duncan’s humming vocals are comforting, contemplative and reassure the listener. To brilliantly shutter the debut work, the harmonic vocals take center stage. With small patterings of conversations heard in the backdrop, the eerie vocal arrangement fades to a fulfilling conclusion.
Four Ways to the Sun is available to stream on all platforms and can be accessed via the artist’s Linktree. Follow Duncan on Instagram and visit the artist’s Website and Bandcamp.
Review by Joshua Gutierrez
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