Sleep, the first single off the album, Twin Beds, had radio producers at 6 Music and Radio 1, raising their eyebrows and nodding in admiration, thinking (probably), ‘Not bad, eh? What’s next for these folky-pop indie kids, we wonder? They might have global potential…’  And, generally, as pleasant folky-pop lore goes, they do. Sleep was no less than a delightful dream of a track, a pretty melody accompanied by contemplating, earthy vocals that stroke the soul in a soothing way, buffering you on the bumpy ride that is life. But how to follow? If Sleep was the state of dreaming bliss, then Every Morning definitely feels like waking up.

By no means a bad thing, Every Morning is Sleep’s sombre, slightly schizophrenic older sibling. In the simplest terms, it is hard to decipher whether this song is sad or happy: the melancholy of Jonny’s vocals and reflective, spirit-battered lyrics contrasts with the cheerful, plucky guitar riff and, by the time the trumpet comes in in the final third of the song, it’s time to throw back the bed sheets and leap out dancing. This is when the song really comes alive: the trumpet part is preceded by a Mr Brightside-type riff, and you know something good is coming. In come the soundbites and the up-tempo drumming, and the heart lifts and it all really is going to be alright in the end.

For fans of the likes of Belle and Sebastian and Bright Eyes, The Rosie Taylor Project will be welcomed into aching hearts and warm beds. Every Morning may not be the strongest track on the album but it represents the nature of the band well and promises more melancholic euphoria to come.

Sophia Longhi


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