Hot Wax: Julie Doiron’s Loneliest In The Morning

The full version of this review appears in the pages of TRACER Magazine.

Julie Doiron is no stranger to re-invention. She also knows a whole lot about how to take up a guitar and convey emotion through song. She does it so well, in fact, that this is virtually all she did to make people sit up and take notice on her second solo album, Loneliest In The Morning, in 1997. On July 22, Loneliest… is re-released, this time with three new tracks, on Jagjaguwar Records. There is no mystery as to why this album from the late nineties deserves a re-issue and a chance to be re-introduced to fresh ears. Undoubtedly, many new Julie Doiron fans will appreciate its simple elegance. Recorded in Memphis with a few other indie musicians (Dave Shouse of the Grifters, Howe Gelb of Giant Sand, Doug Easley and Davis McCain), it was released on Sub Pop records when Doiron was a mere 25 years old. By then, though, she had already been playing music semi-professionally for an astounding eight years.

Since then, Doiron has continued to have a complex musical career. She created her own label, Sappy Records, went by the moniker “Broken Girl,” and joined up with The Wooden Stars, receiving a Juno (Canadian Entertainment Award) for the album they created together. She also continued her work as a photographer, and published a book of her photographs called The Longest Winter in 1999. All of these creative meanderings and collaborations come as no surprise when you hear the complexity and emotion on Loneliest In The Morning. The album is cerebral and gentle, a powerhouse combination for a singer/songwriter. If only I had discovered Julie so many years ago, when this album was first released! I would have no doubt been listening to this album in my car and on my headphones repeatedly, gleaning something new or different with each listen. The album is an unforgettable collection of songs that offer profound lyrics, but also very unique and satisfying sounds, all while remaining very sparse. It is the sort of experience I had and still have when I listen to “The Lioness” by Songs Ohia, which is also several years old now.

Some of the most notable tracks on Loneliest In The Morning include “Sorry, Pt. 1,” “Explain,” “Tonight, We Sleep,” “Condescending You,” and two of the bonus tracks, “Second Time” and “Too Much.” The gut-wrenching, beautiful sadness of “Sorry, Pt. 1” begs for a second and third listen. The slide guitar also provides hints of independence, perhaps because it’s such an American sound. I’m convinced this song could come in handy for a very introspective moment alone in the future. “Explain” cuts to the heart of Doiron’s feelings without pretention. She really lets her bruises show in the lyrics of this song, plus the strong, medium-paced guitar and soft cymbal hits perfectly convey the feeling of being freshly minted a single person. “Tonight, We Sleep” has one of the prettiest guitar sounds I’ve ever heard. It’s light and airy, and evokes imagery of being home alone with all the windows open on a breezy spring morning. It’s also a strumming that is reminiscent of a lullaby, which goes along with the subject matter. “Condescending You” is the sort of song that demonstrates Doiron’s greatest strength, which is creating a sparse composition of guitar, piano, and softly sung lyrics that penetrate the psyche.

When it comes to articulating emotions, Doiron soars and, at times, reminds the listener a bit of Joni Mitchell. They both have a direct, unabashed nature and write songs without emotional filtering. “Second Time” is Doiron plying her strong suit once again, but with a more lilting voice and fuller sounding music. “Second Time” even has a bit more drama to it-there is a slow, deliberate sound to Doiron’s voice, along with plenty of natural sound mixed in the background-everything from a baby crying to things crashing to the floor. The reason “Too Much” left such an impression on me is because it is so soft, so minimalist, involving mostly just Doiron’s restrained voice and five or six piano chords. Yet it manages to sound bold, strong, and unapologetically simple. There is no dearth of creativity in Julie Doiron’s music. There is only a lack of bombastic, pretentious performance.

Amanda Carnes