2019 debut album. Singer songwriter. Also available on vinyl.
Daughter Of Swords is American singer Sauser-Monnig and ‘Dawnbreaker’ her solo debut, began as the first phase of her return to music after stepping to the sidelines for the better part of a decade. Her college trio, Mountain Man, rose to quick acclaim for their peerless harmonies around 2010 but the friends slowly drifted apart, following their own interests to different coasts and concerns. While working on a flower farm as a farmhand, though, Sauser-Monnig realized that she missed the emotional articulation she found in writing songs and singing them and resolved to start again. She pieced together an album just as Mountain Man - now newly gathered in the fertile Piedmont of North Carolina - began to regroup for their second album, 2018’s aptly named ‘Magic Ship’. Working with Sylvan Esso’s Nick Sanborn, Sauser-Monnig shaped what began as quiet reflections into confident compositions, crackling with country swagger and a sparkling pop warmth. They were, after all, preemptive odes to the next phase of life.
Calling the ten tunes of ‘Dawnbreaker’ break-up songs is to hamstring them with elegiac expectations, to paint them as sad-eyed surrenders to loss and grief. Sure, there is the gentle opener “Fellows”, a hushed number that explores the turmoil of being unable to reciprocate the feelings of a wild and shy, tall and fine man. And there’s the blossoming country shuffle of “Easy Is Hard”, where Sauser-Monnig stands in the yard and sees her lover leave, his taillights fading into the night sky; she can’t sleep, so she gets up to turn the lights and stereo on, to “feel my soul coming down.”
Buoyed by the insistent patter of a drum machine and rich acoustic guitars, Sauser-Monnig finds herself in search of new thrills during “Gem”, whether pondering the fleeting nature of existence at a waterfall’s edge or watching the shapes of mountains seemingly dance beneath her headlights. The muted, harmonica-lined boogie of “Sun” begins with a vulnerable confession, a revelation of loneliness; it is, however, a low-key anthem for the open road, about giving oneself over to the infinity of solitude and an endless strip of asphalt. Sauser-Monnig captures these scenes with a painter’s eye and delivers them with a novelist’s heart.
At the start of “Human”, the undeniable climax of ‘Dawnbreaker’, Sauser-Monnig wakes up early and finds her lover in bed. She slips out of the room, watches the sun rise alone and has herself a long think amid nature’s frozen splendor. What does it mean to leave? What does it mean to stay? Is she wrong, and are they right? As the piano rises and her voice multiplies, coming in now from all sides, she admits something crucial to herself: “You can’t will a love to life/But you can do the loving thing: Make like a bird and fly.” It is a moment of reckoning with one’s own liberation, of realizing that sometimes a profound loss is the only way to gain something else. That is the lesson of ‘Dawnbreaker’, an intimate document of what it means to set oneself free.