While restraint is central to Morningside. particularly in terms of tempo, the moments where Murray pushes things in a brisker direction are joyous indications of her potential to expand her sound in new directions. The drums on 'Lucky Girl' are decidedly punchier than anywhere else on the record, and even though the track fits well within the overall theme of the album it does point to a whole new avenue for her to explore on records to come.

'In My Room', though languid, has a garage rock bent that recalls Gabriella Cohen and feels more unhinged than the rest of Morningside. The fuzzed-out chords buzz and chime beautifully; the guitar is essentially the lead here with Murray’s vocals echoing and rippling into pretty, indecipherable harmonies. The song’s simple outro solo is proof that often an ear for layering tracks together often leaves a more powerful imprint than raw musical skill. Though Murray’s instrumentation is often yeoman-like, the components are always tactically balanced, creating soundscapes that are compelling and never too manicured.

Earlier this year, Australian singer-songwriter Alex Lahey released her EP B-Grade University that depicts the same transitory state as Morningside, albeit with a more rollicking sense of urgency and lyrics that created a charming sense of specificity through smart pop culture references. Fazerdaze’s debut doesn’t have highs that are quite so enthralling, but its depiction of change as something that happens at a gradual, unstoppable crawl is probably more true to life. Though barely more than 30 minutes long, the unhurriedness of Morningside makes it feel like a chapter of Murray’s life unfolding in real time.