The Lone Bellow ‘Stunning’ Follow-up, ‘Then Came The Morning’

The Lone Bellow

Seattle – A second album – particularly following a critically acclaimed debut – can perhaps be one of the hardest aspects of an artist’s career. Many consider it a make-or-break point. As The Lone Bellow’s frontman Zach Williams told Best New Bands back in October, “The sophomore record is clutch.”

Fortunately, The Lone Bellow’s upcoming Then Came the Morning, out January 27 on Descendant Records, is a stunning follow-up to their 2013 self-titled debut album. On the new record, the Brooklyn-based trio, which also includes Kanene Pipkin and Brian Elmquist, beautifully blend their distinctive spine-tingling harmonies with soulful folk melodies influenced by gospel, Americana, and roots blues.

Recorded at Dreamland Studios, an old forgotten church in Woodstock, NY, Then Came the Morning was produced by The National’s Aaron Dessner. “To watch him work with such clarity and soul…It was beautiful,” said Williams. “He brought such a weighty conviction to true sound and collaboration.”

This persistence of truthful, authentic sound is conveyed through each of the 13 songs on the record; every element of every track seems to have been thought out to the last detail and beautifully executed, such as the bass vocal, nearly a whisper, on the closing triad of the titular song, which kicks off the album.

On this stellar opener, Williams’ world-weary voice as he sings, “Then came the morning,” is backed by a powerhouse choir of “Ah’s,” captivating use of horns and winds, and lush orchestration, deftly composed by Dessner’s brother Bryce (also in The National), who did all of the brass, winds, and string arrangements for the record.

With gut-wrenching vocals, “Marietta” is a beautiful, slow-paced track complemented by a subtle, melancholic French horn that rounds out the sound. Following is the standout track “Take My Love,” highlighting strong percussion. It opens with a rolling snare, and the energetic kick drum allows the song to build layer by layer. The vocals climb with each verse and chorus, and by the bridge it becomes simply aurally exhilarating.

Pipkin leads the vocals on “Call To War,” a refreshing change of pace. Her throaty, resonant voice is filled with pensive emotion, and is accompanied nicely by soft percussion and floating strings that lead to a full choral build.

The Lone Bellow album

“Diners,” featuring a nice lap steel, transitions the album into a more roots-y, bluesy groove, as the next track, “Heaven Don’t Call Me Home,” is an upbeat gospel-tinged number complete with handclaps and call-and-response wails of “Ohh.” Williams’ gritty vocals and Elmquist’s rocking electric guitar accentuate the energy of the song.

“Telluride” begins with suspended, droning upright bass and easy guitar plucking, picks up with some distortion and textured string instrumentation, and delivers a powerful punch with intricate three-part harmonies at its build: “To hell you ride,” the lyrics soar. Another noteworthy track, “Telluride” expertly sends the listener into the last chapter of the album.

The Lone Bellow highlight bluegrass and even some honkytonk influence on “To The Woods” and “Cold As It Is,” the latter featuring a full sound complete with a slapping electric bass, Hammond organ, and trombone. But it’s the final song, “I Let You Go,” that shines the light on their strength – harmonies. Opening with echoing vocals and a simple guitar, the track also reflects the acoustics of the expertly chosen recording space of the church. It allows the three-part vocals to stretch and grow before landing back in their otherworldly, tight blend.

Then Came The Morning is a testament to The Lone Bellow’s desire and ability to deliver authentic, thoughtful music, of which their debut album seemed to only touch the surface. It’s a strong record that hopefully doesn’t fly under the radar come year’s end.

Catch The Lone Bellow on tour this year, beginning in February.  Don’t delay; several of their North American dates are already sold-out.
Caitlin Peterkin

Caitlin Peterkin

Caitlin Peterkin is a Seattle transplant fresh from the Midwest. She owes her passion for music to her parents, who filled the house with artists from The Beatles to The Beach Boys, Simon & Garfunkel to Carly Simon, and Jackson Browne to Michael Jackson. One of her favorite memories includes being presented with her mom’s original vinyl copy of Sgt. Pepper when she got her first record player.

With degrees in journalism and music, Caitlin’s written for Paste Magazine, The Chronicle of Higher Education, and MajoringinMusic.com. She loves cheese, laughing at GIFs of corgis, road trip sing-alongs, and connecting with people over good beer and good music.
Caitlin Peterkin

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