Springtime Carnivore is Greta Morgan, a multi-instrumentalist who’s debut album in 2014 was widely adored and critically acclaimed. After releasing an album of covers with La Sera’s Katy Goodman (and kicking off a tour with La Sera in October at the Glass House in Pomona, California), Morgan released a follow up on October 7th via Autumn Tone titled Midnight Room. Arising out of an extended bout of insomnia following a break up and an staggering new situation in which she had to live alone for the first time, Morgan found “an abundance of of beautiful melodies in the melancholy ether,” and thus Midnight Room was born.

As an album written in the dream state between being asleep and awake, Midnight Room truly dons a dreamy and forlorn ‘lost but not forgotten’ feel that seems both relatable and intangible. Chris Coady (Beach House) produced Midnight Room, which features Morgan on vocals, guitar, synthesizers, piano and percussion as well as Katy Goodman on background vocals, Alex Greenwald (Phantom Planet) on bass and Jason Boesel (Rilo Kiley, Bright Eyes) on percussion as well.

Title track “Midnight Room” starts out intense and already emotional, with Morgan’s ghostly croon immediately coming in with a hint of a haunted tone exquisitely achieved via a little bit of reverb and a tempered balance. “In my midnight room I never stop,” she near-yodels, infusing things with a sweet falsetto before coming back down and finishing the line with “dreaming of you.” Tempered with an old country longing, “Midnight Room” is a confident toe-tapper in the vein of something Eisley would do, but take out her baby-croon and add a dash of Loretta Lynn.

“Face In The Moon” takes an abrupt turn from the lonesome road-infused opener and moved into a dancier, synthier beat, while “Into The Avalanche” begins with hollow keys that are quickly paired with percussion, with Morgan floating in over the background muted yet maintaining the floaty and forlorn dream-pop sound built previously on the album. Morgan hits dreamy high notes that continue to roll over and build layers, leading to a cathartic release, which all may be a way of paying a bit of a heavy homage to Victoria Legrand; but it’s not so overdone so as to overshadow her own talent.

“Raised By Wolves” is jaunty and upbeat, held aloft by busy percussion—but don’t let the bubblegum beat fool you, this track grapples with uncertainty and an unassured, gun-shy lover who expects to be let down. “You were raised by wolves; can I ever, ever, ever let you in, can I ever, ever, ever let you close to me?” Morgan implores.

“Nude Polaroids” is solemn and jewel-brite, with high tones and confident lyrics, a humble ‘you had your shot’ type of track, while “Under The Spell” takes all the best dance efforts of every ’80s club jam, complete with an astronomical, spaced-out synth and Morgan’s delivery effortlessly surfing along in a dream state. The albums ends with “Rough Magic,” an underwater effort that sends off album out with Lana Del Ray intensity, a far cry from the first track (which is partially a shame, but also a testament to the gamut Morgan can run). Midnight Room is a stunning sophomore effort, and hopefully, Greta Morgan continues to hone and honey.