Singer/multi-instrumentalist Alice Zawadzki writes distinctive, individualistic songs that blend jazz, chamber pop, western classical sounds and occasional Korean influences. Her songs are on the slow side and typically take awhile to unwind. She likes atmospherics, has a mystical side and writes pensive, generally optimistic lyrics. Her lush, dynamically shifting album Within You is a World of Spring hit the web about a year and a half ago and is streaming at Spotify.
It opens with the title track, a blustery Asian flourish from the string section – Simmy Singh snd Laura Senior on violins, Lucy Nolan on viola and Peggy Nolan on cello – quickly giving way to Zawadzki’s terse, modally vamping piano. It’s the missing link betwen Ghost in the Machine-era Police and Hissing of Summer Lawns-era Joni Mitchell. Rob Luft’s guitar adds enigmatic sear to the mix; bassist Misha Mullov-Abbado and drummer Fred Thomas take over the dancing drive from there. In her leaping, energetic soprano, Zawadzki sings this soaring encouragement to leave the dark side behind.
She goes even further up the scale, spare piano over lingering atmospherics in the second track, Gods Children, finally picking up with a spacious guitar solo over a slow, anthemic drive.
“Superior Virtue was my protection, and I could gaze over the abyss all day without falling,” she intones over the drone of the strings and the occasional piano flourish in the third track, Nolan’s viola soaring plaintively over a twinkling, balletesque pulse as the song gathers steam.
Zawadzki sings the bouncy love song Es Verdad expressively in Spanish, Thomas on tenor banjo throughout a surreal mashup of bluegrass and 1970s nueva cancion. The otherworldly melismas of Hyelim Kim’s Korean taegum flute to introduce The Woods, a mystical nighttime spoken-word forest tableau that builds to a twinkling waltz.
Keeper is the most straight-up rock anthem here, with triumphant, gospel-infused harmonies, a resonant guitar solo, dancing bass where least expected over steady Pink Floydian piano chords. Witchy strings come together over a trip-hop beat after an introduction that’s painful at high volume in Twisty Moon, a surreal mashup of soukous and circus rock. Zawadzki closes this fascinating and stunningly original album with O Mi Amore, a balmy ballad infused with spiky banjo accents.