CD of The Week

Lucius - Lucius (Fantasy / Concord)

It’s time. The L.A. (by way of Brooklyn) band Lucius is poised for a well-deserved breakout thanks to their fourth (or fifth, depending on the source) full-length record, recently released on Fantasy/Concord. Having been sought after for collaborations over the last decade or so (The War On Drugs, Brandi Carlile, Roger Waters, and many more), this self-titled album showcases their homegrown talent at its peak. While not fully void of help from their peers, the luscious harmonies and emotive lyrics are passionately crafted from the hearts and minds of singer-songwriters Jess Wolfe and Holly Laessig. Rounding out the band, instrumentations are deftly handled by drummer/keyboardist Dan Molad and guitarist Peter Lalish.

The album starts with what could be an obvious closer, “Final Days,” a gripping and moving confessional about our greatest fear, dying. Placing this at the beginning is a bold introduction and a testament to the power of what comes next. “Gold Rush” grooves like a mellow Black Keys tune, full of catchy riffs and sing-along choruses. The band’s cohesive sound is well represented on “Do It All For You,” a track about emotional sacrifice: “You know I'd wash away all of your sadness, While I hang myself to dry.” “Mad Love,” “Orange Blossoms,” and “Hallways” are all gorgeous, understated ballads. “Stranger Danger” begins the same, but develops its rich textures into an upbeat and intense finale that breathes with passion.

While 2022’s Second Nature was full of neo-disco anthems and provided the band with a way to joyfully dance their way through the COVID fall-out, here they return to a more roots-driven sound like 2016’s Good Grief. On the driving “Old Tape,” Adam Granduciel (The War on Drugs) returns the favor here, backing them on a fantastic song about the pros and cons of living in the past. Madison Cunningham contributes on “Impressions” which is driven by a grungy string bass; with a similar tone to “Old Tape,” it examines how we decide which emotions and feelings we take with us: “I keep reaching for that old expression, But it never comes out right.” The album winds down with “At the End of the Day,” leaving the listener awash with effervescent vocals, acoustic guitar, and a lilting string arrangement.

Wolfe and Laessig deliver harmonies as if they are possessing the other, like twins separated at birth, knowing what to say and how to say it with their spectacular, soaring voices. Their imaginative storytelling is vulnerable, personal, and relatable. However, one must keep in mind that Lucius is very much a four-piece; Molad and Lalish contribute equally. Asking Molad to step in as producer for this record proves that while Lucius appreciates the amazing partners they’ve had outside the band, they’re fully capable of standing on their own.

Don’t miss Lucius when they return to Philadelphia on May 22nd at Union Transfer.

Review by Dave Lindquist