Michael Rault's second full-length, It's A New Day Tonight, has its home in the darkness, like much rock and roll – many of its songs look at nocturnal activities, particularly sleep. "Sleeping and dreaming were attractive concepts," says Rault. "I was looking for an escape from a lot of frustrating and dissatisfying conditions in my day-to-day life." As he was working on the record, Rault kept entering the orbit of Wayne Gordon, producer/head engineer at Brooklyn's legendary Daptone studio – first through opening stints for the late firebrand Charles Bradley, then while on tour with Aussie shredders King Gizzard and the Lizard Wizard. It has the loose-limbed feel of a lost album by '70s bands that bridged the gap between folk-rock's open-hearted strumming and power pop's crisp, melody-forward confections – Wings, Badfinger, Big Star, 10cc – yet possesses an energy shot through with 21st-century optimism.