Musicforthemorningafter

In May 1998, Pete Yorn recorded what was to be his debut album, thenightbefore, with producer Don Fleming. The album was recorded over the course of a week in New York City with Yorn playing all of the instruments. Virgin Records was interested in releasing the album, but wanted to rework the entire second half of the record; which Yorn refused to do. Shortly thereafter, Yorn returned to California and befriended R. Walt Vincent at a Sloan concert. Vincent introduced Yorn to digital recording and encouraged him to move away from the "alt-country feel" that his original recordings had.^[5]

Yorn and Vincent recorded Musicforthemorningafter throughout 1999 in Vincent's garage.^[6] After signing with Columbia Records, the label offered a slew of "super well-known producers" to work on their material, but Yorn declined. However, Yorn and Vincent later brought in Brad Wood to help "clean up and tie the room together."^[7] Ken Andrews, of the alternative rock band Failure, performed on and produced the album's sixth track "For Nancy ('Cos It Already Is)",^[8] while "Simonize" is the only holdover from the Fleming sessions in 1998.^[9]

More information Review scores, Source ...

Professional ratings

Review scores
Source	Rating
AllMusic	[10]
Entertainment Weekly	B+[11]
The Guardian	[12]
Q	[13]
Rolling Stone	[14]
The Village Voice	B−[15]

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Musicforthemorningafter was well received by critics upon release. MacKenzie Wilson of AllMusic wrote, "The year 2001 belonged to Yorn, and his critical praise was not unwarranted, with Musicforthemorningafter marking the stunning beginning of a long, varied career."^[10] In his review for Drowned in Sound, Gareth Dobson singled out "Strange Condition", calling it "brilliant West Coast college rock".^[16] Sean Slone, writing for Ink 19, called the album's production "arresting and continually interesting", while criticizing Yorn's vocals.^[17]

Laura Morgan from Entertainment Weekly said "At times, Yorn’s influences – from Springsteen to Pavement – cast too strong a shadow. But he effectively marries creaky jam-band vibes and swirly indie-rock riffs and even makes a simple "uh uh uh uh uh" chorus ("Murray") sound amazingly fresh"^[11] Rolling Stone included the album twice in their Critics' Top Albums of 2001. Steven Chean called it "Folk-rock that actually rocks." John D. Luerssen added, "I have seen the future of rock & roll and his name is . . ."^[18]