Springtime Carnivore is essentially a solo project for local artist Greta Morgan, whose pedigree made her self-titled debut album noteworthy when it was released in the Autumn. For one, it was produced by Richard Swift, currently a touring member of both The Shins and The Black Keys. In addition, it was offered up by local label Autumn Tone, an extension of L.A. institution Aquarium Drunkard. But none of this speaks to the actual sound of SpringtimeCarnivore, which takes hazy California rock & roll with classic pop and R&B flourishes, and gives them all a contemporary spin.
Springtime Carnivore and their self titled debut, It’s easy to focus on the kaleidoscopic textures and Technicolor adornment, but beyond those psychedelic touches are Greta Morgan’s (Springtime Carnivore) songs: concisely written, boldly sung, and delivered like classics. Songs like “Western Pink” and “Name on a Matchbook” are expertly rendered, and beautiful production by Morgan and co-producer Richard Swift serve to boost the beauty already there, throwing open the windows to let sun stream in.
This Springtime Carnivore record that Greta Morgan released in the last parts of 2014 didn’t come out of nowhere, but it kinda did catch us by surprise. It didn’t surprise us that it was good, but it surprised us that it was so good it hurt. Over the last few years, one of the most vogue things to do has been to record an album of lo-fi beach jams that’s supposed to get beloved just for the beachy parts and because it feels so lusciously aloof. There’s a strange malaise to most of these records. Springtime Carnivore’s self-titled debut is a whole other thing completely. It’s breezy and yet dense as a bolt. Morgan’s songs about the many frivolous and often fascinating sides to that lunatic activity of love, that we all so frequently engage in, are staggeringly complex, but still fall-off-the-bone tender and chewy. She’s made one of those beachy doo-wop records that you never knew you needed in your life until it came along.
The Fat Angel Sings 