A sprawling and cinematic track that unfolds like a great epic told in three parts, “It Comes In The Morning, It Hangs In The Evening Sky” pins together tender vocals with cascading drum rolls, unhinged guitars and meteoric instrumental flourishes.
Of the new song, Tom explains:
“”It Comes In The Morning, It Hangs In The Evening Sky” is probably the most epic track on the album, and had to really live up to the name. The song draws influences from the likes of Jeff Buckley, Daniel Johns of Silverchair and Big Thief. Lyrically, it focuses on the feeling of dread and how it creeps up on you.”
The title-track of an equally expansive and exploratory new studio album (out now, via Xtra Mile Recordings), ‘‘It Comes In The Morning, It Hangs In The Evening Sky’ is the singer-songwriter’s follow-up to 2019 solo debut ‘Misery In Comfort’.
Recorded in the depths of lockdown, Tom started tracking the album in a disused barn on an old laptop with just one microphone and a 2010 version of GarageBand. Realizing he was completely out of his depth, he turned to lifelong friend and producer Todd Campbell and the pair began to turn the collection of songs into a full-length album at his studio in South Wales.
As he picked up momentum, Tom drafted in a range of old band mates and friends he’d met on the road over the years including Phil Campbell (Motorhead), Marc Ford (The Black Crowes), Elijah Ford (Gary Clark Jr) and Paul Mullen (YOURCODENAMEIS:MILO, The Automatic).
Opening-up about his latest LP, Tom says:
“”It Comes In The Morning, It Hangs In The Evening Sky”, was an album that I never intended to write, it just happened. It was something to do during a dark period in all our lives. I guess the album represents the feeling of dread and not being able to shake it, but also love and the appreciation of life and everything that comes with it. I like how the album jumps through the influences: it brings you up and drags you down. It was also amazing to have all my friends play on it and have a bunch of legendary musicians join in too.”
Shifting up and down through the gears from full-band production to stripped-back live takes recorded with one mic in the barn, the album’s mood lifts and lowers as it cruises through twelve enchanting tracks. Featuring earlier BBC Radio Wales A-playlisted singles including feel-good indie-rock anthem “Under The Sun”, Britpop-country fusion “Be There For You” and rustic, rural-inspired “Back Roads”; the record also delves deeper into the leftfield, such as on the blistering psych-rock cut “Magic Mushroom Island” or the beautiful acoustic ballad “If I Can’t Love You”.
Citing influences for the album in classic artists like Jeff Buckley, Bruce Springsteen and Silverchair, to more modern indie-folk frontrunners like Phoebe Bridgers, Big Thief and Band Of Horses; the album was picked as Huw Stephens’ ‘Artist of the Week’ and received praise from tastemaker titles such as Aesthetica Magazine who enthused “Jenkins has managed to find a way of weaving his individual experiences and voice into a tapestry of traditionally crafted songs that ring with true authenticity.”