The final release of a water-themed trilogy, Without Retrospect, The Morning was one of Will Long’s most literally realized versions of found-sound recording manipulation, explaining in the liner notes that it drew from a combination of piano/synth parts and atmospheres of winter in Alberta where he was working one year. Perhaps appropriately the album feels extremely minimal and still even for Celer, with mixed down tones almost more like hints of sound on strikingly titled pieces like “A Small Rush Into Exile” and “A Landscape Once Uniformly White.”

– Ned Raggett