Posts Tagged ‘Natalie Duncan’

Morning breaks somewhere in the world, always, with the first cracks of light slicing across the horizon like a knife through the edge of night. Mourning – of lost love and loved ones, dashed dreams, and so much more – breaks, too. The new day brings with it new hope, but it can’t and won’t be rushed. It comes when it comes. 

Singer, songwriter and pianist Natalie Duncan’s Free skirts the divide, delving into both sides with artful precision. The album opens with “Kansas,” which is akin to a sonic wave that sweeps from the speakers with strings and wordless vocals before morphing into something more. “How many people try to put out your light/you’ll never know, so you better glow/baby, come shining/baby, come shining…”

Neo-soul, R&B and jazzy elements come together in an uncluttered production that enables chords to breathe – and for Aaron Janick’s trumpet to float in from the distance like a dream on certain songs and interludes, such as on “Pools” (which I featured yesterday) or “Glass,” which samples Nina Simone. 

With Richard Spaven on drums and Alan Mian on bass, a solid rhythm anchors many of the R&B-flavored tracks. “Atrium,” an early favorite, is a good example. “Going backwards/all the same words/I’ve been through this/but it still hurts/I’m just waiting for some stillness…”

“Nova” is another.

If you listened to one or both, you’ll notice an old-school vibe that conjures, but doesn’t copy, Alicia Keys. “Sirens,” “Karma” and “Autumn,” on the other hand, are jazz-imbued tunes that would be at home on a Nina Simone LP, while “Strange” (“I know I am insufferable sometimes…) and “Brave” could well be unearthed Roberta Flack treasures. 

Shorthand comparisons aside, what comes through the most is Natalie Duncan. “Diamond,” the closing track, deftly blends old-school rap with her old-school soul in a way that’s both sweet and bittersweet. “Happiness is just a concept/happiness is something you can choose to remember or forget/happiness is never, ever having to regret…” (To quote Diane, “I could listen to her rap all day.”)

Free closes just as it begins – with strings and wordless vocals – as if to demonstrate that, just as night slides into day, day glides into night; it’s the cycle of life. With these 12 songs as part of one’s personal soundtrack, however, the downtimes will hurt a little less and the good times will rate with the best. It’s a great album.

Traditionally speaking, August is the cruelest month, accented by heat, humidity and thunderstorms. This year, however, it’s likely to be no less cruel than the months that preceded it; the Trump virus, aka COVID-19, has seen to that. As way of explanation: I found myself watching a bit of the day’s news last night; the increasing number of COVID-related deaths in the USA – 156,000 and counting – was the headline; experts are expecting exponential growth come fall, with the prospects of a quarter million or more dead by November.

Neil Young’s recasting of the Living With War song “Lookin’ for a Leader” sums up my feelings quite well: “Lookin’ for somebody/with the strength to take it on/keep us safe together/and make this country strong/walkin’ among our people/there’s someone to lead us on/lead a rainbow of colors/in a broken world gone wrong…”

In any event, each day seems the same as the day before, and the day before that, and the day before that, as if Diane and I are trapped in a real-life Droste effect or, perhaps more apropos, Groundhog’s Day. Come 6am, for me, the same events play out in the same order: shower, make coffee, feed the cat, log into work, listen to music, play with the cat, log off of work, retrieve the mail, feed the cat, eat dinner, do the dishes, watch TV, placate the cat, fall into bed…and do it again tomorrow. Weekends aren’t that much different, except I work on the blog.

Yet, despite the sameness of daily existence, some good has percolated through the Internet and/or been delivered to my doorstep: the new Courtney Marie Andrews album, Old Flowers, is catharsis set to song and, as I wrote in my review, one of the best albums I’ve heard in years. Here she is on CBS This Morning performing one of its stellar tracks…

Emma Swift’s Blonde on the Tracks, another recent find, is a delight; Liane La Havas’ self-titled set is wonderful, too; and, released just yesterday, the new Natalie Duncan album, Free, is an old-fashioned stunner. I plan to write about it tomorrow, but for now here’s one of its standout tracks…

Also: The groove machine known as the Stone Foundation has a new album, Is Love Enough?, slated for a September release. The latest teaser track from it, “Deeper Love,” features Paul Weller and is the sonic equivalent to a warm bath. It’s guaranteed to take away the aches of the day…

Last: the surprise release of Folklore by you-know-who. Fans were apparently so upset that the Pitchfork review graded it an 8 out of 10 that they threatened the writer with all kinds of craziness; some even called her at home to express their displeasure. The New York Times’ Jon Caramanica also found the album a solid, not stellar, outing, setting off a similar firestorm. Me, I listened to it last Friday and thought that, like many albums of the modern age, its length was not a strength, but a hindrance. (Too much chaff, not enough wheat.) That said, the title tune is quite memorable…

(Oops… wrong “Folk Lore”!)

What else? I’m expecting the 50th anniversary edition of Roberta Flack’s First Take album any day now; here’s one of the previously unreleased songs included with it. Expect my thoughts on it next week.

I’m not sure when I first heard Natalie Duncan, though I know it came about from a review of her 2012 debut album, Devil in Me, that appeared in either Mojo or Uncut that July – which means it was likely sometime in August. For good and ill, those British magazines were the primary vessels of my music discovery at the time, but they always arrived in U.S. bookstores a month late due to the vagaries of the shipping process. Those were the days, I should explain, when Diane and I routinely took up residence in the cafe section of our local Barnes & Noble bookstore for most of a Saturday or Sunday afternoon, she reading a book in full over the course of a few weeks and I, when not doing the same, paging through magazines while downing a succession of high-octane coffee drinks.

At any rate, Devil in Me became an instant favorite. At their best, the songs conjure the ghosts of popular music past while remaining firmly rooted in the present; her evocative lyrics and intricate melodies paint scenes that resonate deep within the soul. At worst, some songs – while strong – sound overproduced to my ears; and the album, which clocks in at over an hour, is just too long. (That’s a common complaint I have with most CD-age albums, actually. More is not always better.)

That said, YouTube holds more proof of her prodigious talent, including renditions of some Devil in Me songs that gain strength by stripping off their veneers. “Uncomfortable Silence” is a good example; although it’s powerful on album, this rendition – just Natalie at the piano – is spellbinding.

Speaking of spellbinding, here she is performing three songs in early ’12 at the Real World Studios – Jimi Hendrix’s “Angel,” “Sky Is Falling” and the Rolling Stones’ “Gimme Shelter”; the latter sends shivers up my spine every time I play it.

Unfortunately, despite much positive press, popular success didn’t follow and she eventually parted ways with her record label, Verve. In 2015, however, she released the electronica-tinged Black & White EP, which is well worth many listens. The title track is a hypnotic trance set to song, just about…

…and that same year she released the minimalistic single “Lies,” another sterling track. This video captures her performing it at London’s Wet Fish Cafe:

Flash forward five years and Natalie has a new album in the offing, Free, which is slated for release at the end of July on DJ Goldie’s new label, Fallen Tree 1Hundred. Of the lead single, “Sirens,” she says in the release on Bandcamp, “I initially wrote the piano and I whistled the vocals because I wasn’t able to talk at the time. It was a very frustrating writing process, but it was so euphoric the first time I was able to sing the chorus line ‘Can you make me fly’ — it felt like my voice was finally free and flying again.”

 

In a better world, Natalie Duncan would already be at the top of the charts. When I first heard Devil in Me in 2012, my assumption was that her soulful sound would soon top the charts in both the U.S. and U.K. Although that’s yet to happen, I still believe it. Her talent is too large for it not to be syncopating through the sonic landscape that is popular music.

Anyway, I’ll close with this cool cover of Stevie Wonder’s “Overjoyed.” Although she’s considered a “neo-soul” artist, as the performance demonstrates, hers is an old soul. (When she shared it on her Facebook page a few months back, she wrote, “I can’t get over how Stevie Wonder never stops inspiring me. I heard a quote from Herbie Hancock yesterday – ‘Stevie Wonder is an example of the best a human can be’. Big tings.”)

As I said over the weekend, there is so much good new music in the world that it can be hard to keep up – especially since finding said sounds means channeling one’s inner- Jim Rockford. Even so-called “good” radio stations (more on that in the coming weeks) do a lousy job of spotlighting new discoveries – unless it’s the latest generic alterna-rock band, that is.

To that end, here’s a collection of YouTube clips that shouldn’t be missed…

1) The Staves – “Blues Run the Game.” So the Staves played a forest the other day…

2) First Aid Kit – “Fireworks.” And FAK premiered a new song just in time for July 4th.

3) Courtney Marie Andrews – “Sea Town.” CMA, meanwhile, shared this clip that was filmed near the Boot & Saddle in South Philly last month. While I was searching for a parking spot before that show, I drove past her shooting this. I should’ve honked!

4) Natalie Duncan – “Get Right.” Here’s a relatively new song from one of my favorite voices of the past decade…

5) Karrie – “Performers.” And, finally, here’s a stunning track from Karrie that she didn’t include on her wonderful 2016 album Perpetual Motion. (More from Ms. O’Sullivan this weekend.)

And three bonuses…

6) Erin O’Dowd – “Jump the Gun Song.” Another of my favorite new voices.

7) Diane Birch – “Nothing Compares 2 U” & “When Doves Cry.” Here’s the Church of Birch pastor’s lovely tribute to Prince (from a February show in Berlin):

8) Paul Weller – “Soundtrack of My Life.” The Modfather reflects on songs that shaped his life in this NME video. Why do I feel old looking at him?