The Morning Of: The Small Band With a Huge Sound
The Morning Of
THE WAY I FELL IN
Label: Tragic Hero/LAB
Release: May 2010
Type: Full-Length
Genre: Indie, alternative-pop
Links: Official MySpace, Wiki
First off, I'm gonna tell you guys that this review is super long, however entirely worth reading, even just snipets. There's just too many good songs on this album and I couldn't eliminate any of the ones that needed talking about D:
Since the release of their first full-length effort, The World As We Know It (2008), a lot has happened in the world of The Morning Of. The band dealt with the changing of a handful of members, and despite the odds, came out of it with a perfectly harmonic five-piece, along with a brand new album, The Way I Fell In, that exceeded everyone’s expectations. However, TMO has never really been a band to do things the expected way. The band managed to break out of their local scene before even getting a record deal through Tragic Hero Records - another feat for them considering Tragic Hero typically signs hardcore metal and punk bands. Upon hearing just the beginning of any of TMO’s tracks you’d realize they don’t exactly fit into that genre. In fact, it’s hard to put them in any genre. You may have noticed that I tagged this review using two genres; indie and alternative pop. I added indie considering the band is signed to the British independent recording label LAB, so technically, yes, they are classified as indie. However, alternative pop was the genre I could think of that could possibly describe their unique sound.
The Morning Of combines organic piano and upbeat guitar riffs two, along with two, yes two, intertwining and passionate lead voices. The band is one of the few bands out there that have been able to reach the perfect balance of the male and female voices. Jessica Leplon and Justin Wiley seem to have voices made for each other - they blend harmoniously and create angelic cords in nearly every song the band has recorded. On top of the entire band having a sound completely their own, Jessica Leplon is a lead female who can’t be compared to any other in the music industry. Leplon’s voice has clear indications of extensive training, especially in that of musical theatre. Her tonality is perfect, especially when she is singing higher notes in her head voice.
Now, with that knowledge, let’s focus on the album at hand. The Way I Fell In is a twelve song masterpiece that will leave you breathless. While The World As We Know It had great hooks and jammable, upbeat, and catchy numbers, The Way I Fell In is a whole new ballgame. Leplon openly admitted in an interview that their sophomore record was much more personal, and that they felt that was where they went wrong with The World As We Know It. The Way I Fell In opens with harmonic cords and voices with “Jennasea.” It’s a strong opener for the album, and shows off the strength in Wiley’s voice, Leplon picking up the harmony in the chorus. The ballad serves as a crescendo to the album, and the next two tracks - “What You Can’t Control” and their single “The Ones That Fall Apart” - are The Way I Fell In at full blast. The band may have picked “The Ones That Fall Apart” to be their first single from the album because it feels familiar to the ’08 and earlier fans. Chris Petrosino starts the song off with simple piano cords and Wiley’s voice accompanying him. A few seconds in and the good old band we all loved since the beginning is back, which includes a toe-tapping beat, a frequently exchanged vocal lead, and indefinite chair dancing. While the track feels familiar, there are obvious signs of maturity in comparison to their old jams; musically and lyrically.
On the next song, “Tell Me I’m Wrong,” Petrosino’s piano part leads in again, along with Dan Celikoyar’s drumming and Rob McCurdy’s guitar riffs. After playing a few measures, Leplon takes the song by storm. Her powerhouse of a voice is accompanied only by a simple piano line, and an added bonus - a violin. Throughout the song Leplon and Wiley delicately intermix their voices, and tell a sad tale of a seemingly failed attempt at letting go. In the chorus, Leplon repeatedly delivers “Tell Me I’m wrong” followed by Wiley answering “you've lost the love you needed most” or ”forgotten everything you know”. Lyrics like these are proof that TMO took this album completely seriously, and really poured their hearts into the writing. It’s a sign of them blossoming into the best band they can possibly be. In a UK bonus track, members of The Morning Of show off their raw talent with a live & acoustic rendition of “Tell Me I’m Wrong.” If, for some reason that would be beyond me, you still need motivation to check them out after this review, you should listen to it here.
The middle of the record, like any other band, has a few ‘comfort-zone’ filler tracks such as “Cobwebs and Cables,” “Dance With Me,” and “Like Yesterday,” where the band goes back to their The World As We Know It days of fiery interweaving vocals and fast tempoed drum beats. Wedged into the middle of the album, however, are a few songs that stand out above the rest. “The Time It Takes To Grow” is a soft feeling track with McCurdy strumming an acoustic and harmonizing with Wiley. The track feels Bob Dylan inspired - not only is it a soft acoustic track, but it finishes up with a few measures of harmonica; a nice instrumental addition to the overall album. Another extremely remarkable track is the Jessica-only “I Know You Know.” I honestly can’t think of anyone other than Leplon herself who could deliver a track like this. It’s mostly acoustic, so there is nothing to distract you from her heart-felt melody that she belts out like no other. All that you’re left with is - whoa. This song is proof that Jessica Leplon has the type of unprocessed talent that hasn’t been heard in far too long.
As “Jennasea” served as a crescendo to The Way I Fell In, “Heaven or Hell,” the final track, serves as a decrescendo. The track guest stars Copeland’s Aaron Marsh, who leads into the ending of the song. Leplon picks up from there with angelic organ cords backing her up. The song concludes with a mixture of musical distinctiveness that will give you goosebumps.
The Morning Of may not be a household name (yet), and to be honest, I’m completely at a loss as to why a major record label hasn’t scooped them up yet, but that’s beyond the point. What this band has that many these days are lacking is balance. Not just with the switching vocal parts, but The Morning Of has some how managed to find the very delicate balance between having a unique sound and still having a sound that anyone can appreciate. As for me - they’re one of my favorite bands of all time, and as a good fan should do, I STRONGLY encourage you to check them out. They have so much talent it’s practically spilling over their small record labels, and they deserve much more recognition.
Recommended for fans of: Copeland, Deas Vail, Meg & Dia, talent
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