After a masterful series of psychedelically-inclined, acid folk-informed rock records, singer/songwriter/guitar Steve Gunn took a step to the side, working on ancillary projects like Beings and his instrumental records with pianist David Moore. Four years on since his last vocal record, and with the solo speechless album Music For Writers already on his docket for 2025, Gunn unveils Daylight Daylight, which downplays the rock, upticks the folk, and signals a new step in his ever-evolving journey.
Produced in collaboration with his longtime colleague James Elkington, Daylight Daylight presents seven songs in a bright yet intimate setting, with reserved performances and shimmering textures. “Nearly There” is a near perfect opening statement, the balance of reverb, acoustic strumming, and existential pondering an outline for what’s to come. A tribute to an unexpected encounter with a friend, “Morning on K Road” surrounds Gunn’s trademark fingerpicking and soft vocals with carefully placed electric guitar licks and tasteful string arrangements. “Another Fade” and “Loon” sport some of the record’s catchiest melodies, adding a subtle pop sense to Gunn’s musings on nature, humanity’s place in it, and the wonder of it all. “A Walk” and the title track lean into this concept, sounding like the perfect accompaniment to an early morning stroll around the edge of a wood, as the sun rises.
“Hadrian’s Wall” may well be the most full realization of Gunn’s vision for the record, with jazz/folk rhythms reminiscent of John Martyn and perfectly arranged strings that call to mind early Nick Drake, but a soulful execution that’s purely a mark of its writer and performer. The music often has callbacks to other artists, but Gunn always has such a strong vision that the songs never sound like anything other than him. Though quite a bit different from Gunn favorites like Time Off and The Unseen In Between, Daylight Daylight builds on an already marvelous catalog with a beautiful and fresh statement of creative purpose.
