When you start listening to Andover, Massachusetts native Adam Reczek’s newest album In the Night, for the Morning, there will be something about his music that you’ll absolutely love… but you just won’t be able to put your finger on what it is exactly that keeps you listening. It might be his vocals that are at times wonderfully deep, or possibly the guitar twangs that embody the “folk” genre alongside magnificent electric guitar solos, reminding listeners that “rock” is also part of his sound. Or maybe it’s the overall retro feel of’ 90s indie and folk rock found throughout the entire album that you just can’t help but like. Regardless of what you enjoy most about the album (or, if you’re like me, you can’t choose just one), Reczek’s fifth album is fantastic from start to finish.
A short, instrumental track entitled “Night” starts the album with two minutes of beautiful acoustics. While I often say this about first tracks, “Night” does truly provide the album with a teaser introductory song that allows listeners to understand the quality of the acoustics alone on In the Night, for the Morning (which, in my opinion, are magnificently crafted).
As the album progresses, each song bestows something new and different from the one before. They are all, of course, cohesive, but elements here and there give every song its own personal flair. For example, “April Song” will outright sound like a good old country/folk song from decades past (that I strangely actually like, despite not being a huge country fan). However, the following one, “What I Wouldn’t Do” leans more towards to a slow rock tune, including what sounds to me like some light pipe organ amidst the chorus, a dash of harmonica, and various types of other guitar and string instruments beyond the acoustic guitar. What I’ve definitely noticed while listening to Reczek’s album is that he likes to combine acoustic and electric guitar in his music. It is not any new tactic in the music-making business, but the way the he does it, especially on this album, is incredible and fascinating, and I believe it to be one of the many reasons I really enjoy the album in its entirety. His stylings and originality are invigorating.
When I was reading the information for the album on Bandcamp, where you yourself are able to give it a listen, the description mentions that Adam Reczek performed many instruments for In the Night, for the Morning… including a bottle of scotch. At first I just thought it was a joke, but then I heard the seventh track, “85.” If anyone was ever wondering what “playing a scotch bottle” sounded like, I invite you to listen to this track; it sounds much better than you would expect, and thus illustrates even further the point I make about Reczek’s originality in his work.
I was hoping to hear some more uptempo beats on the album, but most, if not all of the songs, are not, with “Chasing Arrows in the Backyard” being the only potential exception. This is by no means a problem, and I enjoyed Reczek’s music regardless, but I felt like I was just waiting for the moment to come where things pick up a little bit. With many of his songs taking on a somber tone, I often pictured this album being the soundtrack to a rainy day, possibly a summer evening as twilight approaches, or even placed in a scene from an indie movie (you know the kind of scene I speak of).
Just as it began, In the Night, for the Morning finishes with a lyricless track called “Morning,” however this time with electric guitar in what sounds like a tune mimicking the first. It is the perfect “bookend” conclusion to this marvelous album. And considering I’m very particular about any music country or folk, that’s saying something.
Latest posts by Rachel Policano (see all)
- ALBUM REVIEW: New Medicine ‘Breaking the Model’ - September 16, 2014
- ALBUM REVIEW: Nervous ‘Decode’ - September 16, 2014
- ALBUM REVIEW: Frnkiero andthe Cellabration ‘Stomachaches’ - September 13, 2014