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Its follow-up, 2016’s \u003ci\u003eGlory\u003c\/i\u003e, is a little more representative of where the band’s sound would eventually go, slightly darker and slightly weirder in its tone, all while being ruthlessly hooky. (These records also bear the unfortunate cross of having had the vast majority of their royalties thieved by the band’s former label — hence the aforementioned ‘no labels’ rule — and as such are still kinda in disputed territory.)\u003c\/p\u003e\u003cp\u003e2018’s \u003ci\u003ePrize \/\/ Reward\u003c\/i\u003e, released on friend-and-live-bandmate Joe Alexander’s record label Bedroom Suck Records, was and remains Good Morning’s only album to be recorded over a long period of time, as opposed to in one short spell. It is looser and slightly more chaotic than other Good Morning releases, its songs liable to unspool at any moment. With the benefit of hindsight, it’s as significant and enjoyable as any other Good Morning record. At the time, though, its protracted process of creation and release left the band feeling tapped out, a little sick of itself. The solution came in the form of 2019’s double-header of \u003ci\u003eThe Option\u003c\/i\u003e and \u003ci\u003eBasketball Breakups\u003c\/i\u003e, twinned records released six months apart. Made quickly and with a full band for the first time — the former in Melbourne, the latter in a friend’s studio in Matsumoto, Japan -— the albums reclaimed the fun and friendship crucial to the band’s ability to function. Both records are immediate and propulsive, each comprising songs that are fun to play and fun to see live and featuring goofy production choices that border on the avant-garde: barking dogs, wind chimes, and weird synth solos abound.\u003c\/p\u003e\u003cp\u003eBetween each record, Good Morning have released two-track singles: 2015’s “A Vessel” and “Radiovoice”, and “On The Street” and “You”; 2016’s “Step Aside” and “Oppsie”; 2019’s “Take It Easy For Me Stranger” and “Boy, I’m Just A Loser For Your Love”; and, most recently, 2020’s “Mollyduker” and “Keep It”, the band’s first release for Polyvinyl Record Co. (USA\/ROW) and Good Morning Music Company Worldwide (AU\/NZ). These two-tracks, despite always conforming to a specific format in a way Good Morning \u003ci\u003ealbums\u003c\/i\u003e rarely do, have provided a space for Stefan and Liam to experiment with style and tone — among these songs are drone synths, ambient sketches, and country ballads.\u003c\/p\u003e\u003cp\u003eThis history, as embodied, rich and pockmarked as it is, converges on \u003ci\u003eBarnyard\u003c\/i\u003e. In late 2019, after the release of \u003ci\u003eThe Option\u003c\/i\u003e and \u003ci\u003eBasketball Breakups\u003c\/i\u003e, with a lengthy American tour looming, Good Morning decided to go back to basics — to record as a duo again, as they had on \u003ci\u003eShawcross\u003c\/i\u003e and \u003ci\u003eGlory\u003c\/i\u003e. Over the course of the year, they demoed any number of songs in their Collingwood studio space, meeting up every Tuesday to write and record together as they always had. In November, as their American tour wrapped up, the pair decamped in Chicago, to properly record the demos they had amassed at Wilco’s famed studio, The Loft.\u003c\/p\u003e\u003cp\u003eAt The Loft, Good Morning found not only gear — more than they could ever want or need, with much of it having been played on some of their favourite records ever — but also a kindred spirit in Tom Schick, the studio’s in-house engineer. In the initial recording sessions, Tom was a guiding force, encouraging the band to actually record their demos instead of just trying out gear or talking shit for hours on end; as their time together grew, he became a close accomplice, the first non-friend the band had ever brought in to help them record and, as such, a significant force in the outcome of\u003ci\u003e Barnyard\u003c\/i\u003e. The band left The Loft with the intention of returning the next year and finishing it, a plan that, due to Covid, never came to fruition. What you now hear on \u003ci\u003eBarnyard\u003c\/i\u003e is exactly what was laid down in that first spell of recording. In a sense, the universe’s dampening of the band’s plans forced them to stick to at least one of their rules — to only make records that were recorded in one quick rush, in one geographical location. The album is better for it: not overworked or overproofed, these 12 songs feel comfortable with themselves, content to exist as they are, rather than striving for something they’ll never be.\u003c\/p\u003e\u003cp\u003eDespite how quietly epochal \u003ci\u003eBarnyard\u003c\/i\u003e is — a milestone in the history of Good Morning — it’s also the band’s most meditative record, thoughtful and careful in its evocations. In the spirit of “Mollyduker” and “Keep It”, in many ways tone- and style-setting preludes to this album, \u003ci\u003eBarnyard\u003c\/i\u003e is world-weary, concerned with the state of things in a loose, unfocussed sort of way. In other words, like we all are — frustrated both with the way things are and with everyone’s general inability to fix any of the many issues endemic to our society. “Burning”, a piano ballad sung by Liam that bears the distinctive patina of 70s rock, addresses the increasingly-visceral threat of global warming, its lyrics written in freezing-cold Chicago about the bushfires raging back home in Australia. “Big Wig”, sung by Stefan, addresses the generally useless and pigheaded bigwigs who parade through the music industry and through life. \u003c\/p\u003e\u003cp\u003eIn spite of the appropriately bleak vibe, these songs feature some of Good Morning’s catchiest and most distinctive productions. The spritely groove and easygoing harmonies of “Depends On What I Know” belie its frustration-ridden lyrics; the gripping, awesome propulsion of “Country” persists in spite of its appeal to return to a simpler, easier way of being. The 12 tracks that comprise \u003ci\u003eBarnyard\u003c\/i\u003e are melodically and structurally unimpeachable — just wonderful, appealing rock songs that are never laboured with overbearing production choices or self-serious tone, even when the content regards a world in decline.\u003c\/p\u003e\u003cp\u003eThose seeking grand reinvention or earth-shaking hubris in \u003ci\u003eBarnyard\u003c\/i\u003e will come up short. This is an album of good, well-made, finely-written songs. It is an album notable for its purity and coherence of vision, but not by any means a concept album; it is a record significant in the band’s history, but not one with such self-importance that it would consider itself historically significant for all. That is likely what those drawn to it will love about it. Barnyard is not too little and not too much. It’s just right — just Good Morning. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eRecorded at The Loft, Chicago, IL, USA\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced by Good Morning with help from Tom Schick.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMixed and engineered by Tom Schick.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Fred Kevorkian.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll instruments played and sung by Good Morning except for...\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eVibraslap on ‘Burning’ slapped by Joe Alexander.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eSaxophone on ‘Big Wig \/\/ Small Dog’ saxed by Glenn Blair.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eBarnyard construction by Good Morning, Eva Christoff and Tom Muntisov over a painting by Paul Ceraso.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eBarnyard denim lettering stitched by Georgia McGirr.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhotography by Robert ‘Squid’ Collins w\/ Aidan McDonald.\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Seafoam)","offer_id":50819002859827,"sku":"PRC-440LP-RETAIL","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819002925363,"sku":"PRC-440CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708191830323,"sku":"PRC-440DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/22627a5aac9dbc8038cf03499846b23e3b5d871f_93341f2787a729a6eeba25893794dbd645602e63_photo_jpg.jpg?v=1735838790"},{"product_id":"hum-downward-is-heavenward","title":"Hum - Downward Is Heavenward","description":"\u003cp\u003eChampaign, Illinois band \u003cstrong\u003eHum\u003c\/strong\u003e is re-issuing its four-album catalog (\u003ci\u003eElectra 2000\u003c\/i\u003e, \u003ci\u003eYou'd Prefer An Astronaut\u003c\/i\u003e, \u003ci\u003eDownward Is Heavenward\u003c\/i\u003e, \u003ci\u003eInlet\u003c\/i\u003e) with exclusive distribution by Polyvinyl. 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She could have kept touring forever; she could have fled to the woods with a four-track. She could have done anything. What she did was jump into an old Subaru, driving seven hours south to the Hudson Valley. The car didn’t have any A\/C; she had only recently earned her license; and she had never met the producer she was driving down to meet. But when Cornfield arrived in Hurley, NY, at the red-steepled church that is now Dreamland Recording Studios, she was ready for whatever came next. “There was this letting go of some of the strongheaded-ness that I think I used to have,” she says, “and an embracing of the open-endedness of life.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCornfield had come to Hurley to work with producer Josh Kaufman, thrilled by his sublime recordings with Cassandra Jenkins, Anais Mitchell and his own band, Bonny Light Horseman. The album they’d now make together, \u003ci\u003eCould Have Done Anything,\u003c\/i\u003e is a testament to Cornfield’s uncommon life and all its possibilities, an acknowledgment that the best musicians can turn fleeting moments into timeless songs. Over\u003c\/span\u003e\u003cspan style=\"color:#ff0000;\"\u003e \u003c\/span\u003e\u003cspan style=\"color:#000000;\"\u003enine magnetic tracks, the singer-songwriter begins yet another chapter: gazing in the rear-view to understand where she’s been; squinting through the sunset to see what’s ahead. \u003ci\u003eCalmer than I was\u003c\/i\u003e\u003cstrong\u003e,\u003c\/strong\u003e she sings in the album’s final moments. \u003ci\u003eStronger than I was \/ older than I was \/ less angry than I was…\u003c\/i\u003e—and finally—\u003ci\u003ehappier than I was \/ happier than I was \/ happier than I was…\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWhereas Cornfield’s preceding albums were made in familiar settings, with troupes of friends, her latest long-player reaches into the unknown. Kaufman and Cornfield (who went to school for jazz drums) played every instrument themselves, from ringing guitars to cozy piano, Hammond B3, pedal steel and synthesizers. Together with engineer D. James Goodwin (Kevin Morby, Whitney) and assistant engineer Gillian Pelkonen, the pair worked swiftly, impulsively, trying to shrink the gap between having an idea and putting it on tape. The resulting sound is at once elaborate and unrehearsed; there’s a sense that it’s coming together—and coming alive—at the very moment it’s being made.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“The hours flew by,” Cornfield says. “We lived inside of the songs there, for a few days.” You can hear it on a tune like “Cut and Dry,” where a radiant, easygoing groove forms the landscape of a song about seeing people as a whole, together with their mistakes. 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Like riding across the desert with your friends; like smoking a joint at the end of a long day; but the song’s alternating verses orient themselves towards another sensation, too: that feeling of being home, and happy, when your lover’s not around. Not because they’re gone, but because you know they will return.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e Intimacy and absence go hand-in-hand on \u003ci\u003eCould Have Done Anything\u003c\/i\u003e: the theme repeats on the unfussy love-song “You and Me,” with its tale of tour and homecoming. \u003ci\u003eYou’re sunkissed in your Subaru \/ Picking me up at Terminal 3\u003c\/i\u003e, she sings—and, later, \u003ci\u003etwo bikes on a pavement path \/ ice cream cones and epitaphs. \u003c\/i\u003eSome love is as simple as this: liberating, easy, like piano and guitar in two-step. “I’ve been trying to write a song like this for a long time,” Cornfield says. “A catchy love-song, with cars. Where it feels like the narrator could go anywhere and do anything.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThat was the spirit of this record: connection, possibility, acceptance. “Don’t be afraid to take a left,” Kaufman would say, encouraging Cornfield to drop preconceptions, invent new rules. Even with the small things, like wandering around the tracking room with a pair of claves in your hands, or adding random, surround-sound echoes to “The Magnetic Fields”—a song about a potent and formative live concert experience.\u003c\/span\u003e\u003cspan style=\"color:#ff0000;\"\u003e \u003c\/span\u003e\u003cspan style=\"color:#000000;\"\u003eThroughout, Cornfield tried to channel the energy of her favorite classic records, from \u003ci\u003eTapestry\u003c\/i\u003e to \u003ci\u003eBlood On The Tracks\u003c\/i\u003e to \u003ci\u003eCar Wheels On A Gravel Road\u003c\/i\u003e—albums where the listener is simply carried by the songs and the playing.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAfter six days, Cornfield went back to Canada, with a new album to mix and master. Another day-long drive; another homecoming; and one more thing, too, which would arise a little over nine months later: the singer’s first baby’s due April 2023. Anything can happen.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll songs written by Charlotte Cornfield\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eProduced by Josh Kaufman\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eRecorded by D. James Goodwin at Dreamland and The Isokon\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAssistant engineer: Gillian Pelkonen\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAdditional overdubs recorded by Josh Kaufman at The Garage\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMixed and mastered by D. 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