EP Spotlight – Fleur Geurl – “Jupiter Return”

Sometimes I wonder how it’s possible, with all the music out there that exists, that there could be something new that genuinely resonates in a way that nothing else has, and then I come across a work of art like the new EP from Fleur Geurl, and I’m reminded of the creative power few of us mortals have been blessed with.

I have listened to this work about 6 times through, and I am giddy to show and explore it with you

The Woods

Choosing an opening track for a project is a difficult task, how do you introduce an audience to a world you’ve been creating and refining over and over again for months? This is how. The Woods is a soft extended hand, guiding you into the whimsy of the Return Jupiter project. The shape of Danielle’s melody is enchanting, dancing around the plucks of the guitar that fill the sonic space so holistically. My favourite element to this track is the bass- the subtle swing is so goddamn romantic, and the way it fades to the background for the cello to fill the space is a perfect example of true balance within a piece

No Sleep Anxiety

“I’m so tired I could cry”- we love a relatable queen. ‘No Sleep Anxiety’ has a very minimal structure, a playful turn between two chords that swell and flow between each other. To me, this reminds me of a visceral feeling of emotional exhaustion, pleading with the universe for some rest in the face of an onslaught of burdens demanding our attention. Something special about this track is the pacing, I find it really brave when a musician trusts their writing and structure, and allows the song to breathe along an organic tempo that runs parallel to what’s being communicated, ‘No Sleep Anxiety’ does just that.


‘Gross’ reminds me very much of Love by Nancy Adams – which you would know from Disney’s animated Robin Hood – it has a lit-by-firefly-light kind of feeling; only slightly more haunted and lonely. The sincerity in this track is dramatic in a way that causes you to take a second and wonder if you were really allowed to listen as closely as you want to. “You told me to never say your name on stage so I’ll spell it, J.O.N.A.H…J.O.N.A.H….J.O.N.A.H….” I don’t even know a Jonah and this has made me blush over and over again.

The Bouquet

The Enya-est of the 8 tracks, ‘The Bouquet’ vocally explores a vast reverberated environment accompanied by a lone piano that seems to bounce off the echos and shapes created by the melody. The ghostly piece blooms and breathes gently enough to not overwhelm the listener, but just enough to create a genuine emotional reaction to the space being filled. The waves in the vocal harmonies are not unlike that scene in the third Harry Potter movie, when the boy who lived wards off an assault from the dementors, the light from his wand rippling through and expelling the darkness. I promise I’m not trying to make all these movie references, its just the effect this EP is having on me.

Frog Song

The 5th track of the album, ‘Frog Song’ invites a few new production elements into the sonic portfolio of the album. The cello takes on quite a prominent role at this midway point of the album, and we’re introduced to how drums interact with this sparse world for the first time. Vocalist/guitarist Danielle and cellist Claire worked remotely for this project, having connected via a mutual friend (and probably divine intervention). To me, ‘Frog Song’ showcases how sometimes the purity and magic of a destined collaboration is seldom bound by distance; sometimes all you need is a zoom call

Moors Lullaby

The tone of Jupiter Return is a deeply introspective, coming of age one- one that makes you want to lie down in a field on a starry night and allow your body to release all the melodrama that’s been building in your bones. ‘Moors Lullaby’ is the peak of this feeling; cicada ambiance and all. The guitar tone lays a warm and friendly base for the cello to play around, all the while Danielle’s vocals soar and fall between subtle bird calls.’Moors Lullaby’ seems to visit a few structural choices, ultimately creating a more linear experience rather than a circular one; much like how one would hope to progress through their own emotions, rather than feel stuck in a loop of them

Wedding Song

The second last, and the shortest of the collection, ‘Wedding Song’, is an exploration of candid intimacy. The repeated notion that closes the song “forever is here” becomes a resting place of the songs sentiment, and strengthens the already established swaying-in-the-kitchen-together romantic undertones. The subtle production choices in Wedding Song elevates and expands the world shared by the two lovers in the song, you can visualise the relationship far beyond the domestic living space that Fleur Geurl has insinuated.

Sadie (sorry for leaving)

Closing the Jupiter Return album is ‘Sadie (sorry for leaving)’, a piece with an intentionally farewelling tone. Saying goodbye can be a difficult and complicated thing, and often the words are not spoken organically and perfectly enough to have said everything you needed to say. Writing can become the format that generously provides you with the patience and grace you need to say things the right way; to me, ‘Sadie’ is a product of that kind of process. Danielle crafted a meaningful, yet entirely conversational tone for this final chapter of the Jupiter Return project; a fitting farewell for an intimate journey through her feelings and convictions.

Setting aside just over 26 minutes to sink into this album is a decision I implore you to make. This project from Fleur Geurl is an opportunity to slow down and fall into your feelings, as hard as they may be to face. The gorgeous instrumentation collaboration between Danielle and Claire feels and sounds fated, and I do hope they continue to work together on projects courageous enough to be as raw as Jupiter Return.

Check out Fleur Geurl on Spotify and connect with them on Instagram

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