3.5 out of 5 stars

Bright Morning Stars is what good folk music should sound like. It’s got all the right instrumentation – acoustic guitars, ukuleles, banjos and, of course, a little whistling. It’s also jam-packed with entrancing, though occasionally overbearing, three-part harmonies.

The album gets its title from an Appalachian hymn of the same name, which the Wailin’ Jennys render a cappella, making use of the trio’s well-known and beloved harmonic blend. Most of the lyrics are lighthearted and hopeful. Even the darker tracks carry a sense of hopeful wonder. The opening track “Swing Low, Sail High” is an example of the girls’ optimism even in crisis.

Musically, the album has solid pacing; sweet, careless songs are punctuated by more serious tracks. It will keep listeners’ attention throughout.

The beginning tracks are standard Wailin’ Jennys fare: harmony-rich tunes and innocent, awestruck lyrics. “Bird Song” immediately comes to mind in that respect. The girls even take a break from singing lyrics in unison and break into a playful round toward the end of the song.

The harmonies in “Away But Never Gone” are intricate and musically mature. The chords shift subtly yet dramatically; this track seems to be the best example of the girls’ knack for delicate, complex voice-leading.

All three girls in The Wailin’ Jennys have robust, pitch-perfect voices, but occasionally the album gets a little too harmony-heavy. During these lull periods, the music is pretty but lacks a punch. Some songs leave you wishing for simpler voicing. Others leave you longing for the band to show some vulnerability or imperfection.

“Storm Comin’,” however, is a welcome change of pace from the rest of the album. It showcases Ruth Moody’s voice apart from the others. At the beginning, she croons soulfully over an eerie, ambient track. She is later joined by her comrades for some more harmonization.

But this track has a different flavor; minor in key, its harmonies are bittersweet and haunting. In short, it delivers that kind of punch that some other tracks lack.

“Mona Louise” and “Cherry Blossom Love,” both strong tracks on the album, are sultry blues ballads, with soft, dreamy chord progressions and instrumentation vaguely reminiscent of Norah Jones’ work. The former track features a smooth electric guitar solo, whose riffs will set any troubled mind to ease. This little interlude is also a breath of fresh air amid so many other songs that are strictly acoustic.

Unfortunately, the final track “Last Goodbye” is a bit repetitive and reminiscent of prior songs, but the album is still likely to leave a lasting impression on the observant, curious listener.

Overall, the album is worth paying attention to. Of course, it has some flaws – the combination of syrupy harmonization and endless acoustic guitar strumming creates a bit of a lull at points. Some selective listeners might not even be able to overlook the “twang” factor. But for those with an open mind and ear, there are some true gems to be discovered. Where this album shines, it is brilliant.