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Sound of the Morning
Sound of the Morning in Bloomington, MN
Current price: $15.99
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Size: CD
After introducing her lightly rustic, '70s-inflected songs and distinctively lithe,
Parton
-tinged voice on 2020's
Return
, Bristol, U.K.-based
Katy J Pearson
went on a self-prescribed nature retreat of sorts while forced off the road due to pandemic shutdowns. When she was recharged and ready in late 2021 to write and record her second album, it was with a drive to experiment and expand her sound. Consequently, in addition to rejoining producer
Ali Chant
from her debut, she enlisted
Dan Carey
of breakout indie/post-punk label
Speedy Wunderground
to weigh in on select songs. The resulting
Sound of the Morning
gathers gentle folk, driving folk-rock, and steely post-punk on an album united by an assertive, searching leader. All of the above come together on "Float," an album centerpiece that
Pearson
co-wrote with
Oliver Wilde
(
Pet Shimmers
) and which features
Morgan Simpson
of
signee
Black Midi
on drums. After a spacy synth intro, it shifts to bowed bass-accompanied acoustic strumming and a strong vocal melody before quickly collecting sturdy drums, rumbling guitar distortion, raindrop-like keys, lilting backing vocals, and fiddle, as if the discord is the point by the time it reaches a final chorus that's tired of waiting.
Carey
's input is even more conspicuous on songs like "Alligator" (featuring
Honeyglaze
drummer
Yuri Shibuichi
) and the nervy "Confession." The latter song opens with dingy synths and a repeated bass note that sets a brisk tempo for a punky verse that has
recalling a memorable point of conflict. As the track progresses, warmer timbres including strummed guitar, horns, and
's own regretful delivery add complexity to the memory, although, ultimately, sleek timbres and relentless rhythms win out ("But you just wouldn't listen"). In between "Confession" and "Float" is the sharply contrasting "The Hour," whose haunted, fingerpicked folk and mournful vocal draw on troubadour tradition. Everything else falls somewhere in between, and somehow, from its pastoral opening title track to its glistening rock closer ("Willow's Song"),
makes sense, through acknowledging struggle and uplifting with a gumption and determination that's reflected in its design. ~ Marcy Donelson
Parton
-tinged voice on 2020's
Return
, Bristol, U.K.-based
Katy J Pearson
went on a self-prescribed nature retreat of sorts while forced off the road due to pandemic shutdowns. When she was recharged and ready in late 2021 to write and record her second album, it was with a drive to experiment and expand her sound. Consequently, in addition to rejoining producer
Ali Chant
from her debut, she enlisted
Dan Carey
of breakout indie/post-punk label
Speedy Wunderground
to weigh in on select songs. The resulting
Sound of the Morning
gathers gentle folk, driving folk-rock, and steely post-punk on an album united by an assertive, searching leader. All of the above come together on "Float," an album centerpiece that
Pearson
co-wrote with
Oliver Wilde
(
Pet Shimmers
) and which features
Morgan Simpson
of
signee
Black Midi
on drums. After a spacy synth intro, it shifts to bowed bass-accompanied acoustic strumming and a strong vocal melody before quickly collecting sturdy drums, rumbling guitar distortion, raindrop-like keys, lilting backing vocals, and fiddle, as if the discord is the point by the time it reaches a final chorus that's tired of waiting.
Carey
's input is even more conspicuous on songs like "Alligator" (featuring
Honeyglaze
drummer
Yuri Shibuichi
) and the nervy "Confession." The latter song opens with dingy synths and a repeated bass note that sets a brisk tempo for a punky verse that has
recalling a memorable point of conflict. As the track progresses, warmer timbres including strummed guitar, horns, and
's own regretful delivery add complexity to the memory, although, ultimately, sleek timbres and relentless rhythms win out ("But you just wouldn't listen"). In between "Confession" and "Float" is the sharply contrasting "The Hour," whose haunted, fingerpicked folk and mournful vocal draw on troubadour tradition. Everything else falls somewhere in between, and somehow, from its pastoral opening title track to its glistening rock closer ("Willow's Song"),
makes sense, through acknowledging struggle and uplifting with a gumption and determination that's reflected in its design. ~ Marcy Donelson
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