Day I Forgot
by Mark Vanderhoff
Perhaps the most appealing aspect of Pete Yorn's 2001 debut, Musicforthemorningafter, was its seamless combination of quirky, Brit-pop-influenced production and rootsy, tuneful songwriting. Day I Forgot, Yorn's sophomore effort, scales back the Smiths-influenced guitar work, scratchy-old-record sound effects, and delicate acoustic balladry in favor of a more straightforward approach. After the unnecessary 47-second opener, "Intro," Day I Forgot buds off to an impressive start with "Come Back Home" and "Crystal Village," a pair of the upbeat yet desperate rockers that will remind Yorn's audience why they started listening to his work. Unfortunately, the pace slackens with "Carlos (Don't Let It Go to Your Head)," which is dominated by an overblown, rudimentary guitar riff and for the most part unintelligible lyrics instead of Yorn's traditional mark-up, catchy melodies and emotive voc...
Perhaps the most appealing aspect of Pete Yorn's 2001 debut, Musicforthemorningafter, was its seamless combination of quirky, Brit-pop-influenced production and rootsy, tuneful songwriting. Day I Forgot, Yorn's sophomore effort, scales back the Smiths-influenced guitar work, scratchy-old-record sound effects, and delicate acoustic balladry in favor of a more straightforward approach. After the unnecessary 47-second opener, "Intro," Day I Forgot buds off to an impressive start with "Come Back Home" and "Crystal Village," a pair of the upbeat yet desperate rockers that will remind Yorn's audience why they started listening to his work. Unfortunately, the pace slackens with "Carlos (Don't Let It Go to Your Head)," which is dominated by an overblown, rudimentary guitar riff and for the most part unintelligible lyrics instead of Yorn's traditional mark-up, catchy melodies and emotive voc...
