Posts Tagged ‘Lucius’

It’s easy to overlook the latest album Nudes by Brooklyn indie-poppers Lucius. On the surface, it’s a stopgap release, a quickly recorded acoustic album of previously released songs and a few covers – the band’s Jess Wolfe and Holly Laessig have been touring as Roger Waters’ backup singers and have no time to make a more involved record. But Nudes shows a stunning new side for the group. Songs like “Tempest” and “Something About You,” which were buried under heavy rock back beats and layers of synthesizer on their original LP versions, are reborn as rousing vocal showcases. Their cover of Tame Impala’s “Eventually” allows Wolfe and Laessig’s voices to cascade and blend into beautiful harmonies; and on “Million Dollar Secret,” previously a one-off single for HBO’s Girls, they let their voices build until they explode for a fiery finale.

Lucius performs “Feels Like a Curse” at The State Theatre in Portland, ME on March 16th, 2018.

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Dawes: <i>Passwords</i> Review

Taylor Goldsmith and his band Dawes latest album release. “Passwords”, This Is Dawes’ sixth studio album, It features 10 new soft-rock songs indebted to Laurel Canyon circa 1972 and in particular the sound of Jackson Browne, with plaintive melodies, soothing piano and lyrical platitudes that are just unspecific enough to feel relatable, like the scenarios in self-help books. There’s the earnest, if self-satisfied, attempt to find common ground on “Crack the Case,” where Goldsmith murmurs rueful lyrics as piano and acoustic guitars mingle behind him. His regretful would-be lover on “Mistakes We Should Have Made” wishes he’d gone for the kiss despite the obstacles, his ardor framed by the prominent snap of a snare drum pushing a mix of acoustic guitar and keyboards, with distant backing vocals from the girls of Lucius. “Feed the Fire” slides around on a slippery guitar riff and shimmery synth parts, and Goldsmith reflects on empty ambition at the top of his vocal range in a way that calls to mind Private Eyes-era Hall & Oates.

Passwords, inspiration pulls guitarist/ singer Taylor Goldsmith, drummer Griffin Goldsmith, bassist Wylie Gelber, and keyboardist Lee Pardini into their most universal, topical territory to date. This is a record about the modern world: the relationships that fill it, the politics that divide it, the small victories and big losses that give it shape. Taylor’s writing is personal at points – the result of his recent engagement, which lends a sense of gravity and self-reflection to album highlights like “Time Flies Either Way” and “I Can’t Love” – but it also zooms out, focusing not on the director himself, but on everything within the lens.

Dawes' Taylor Goldsmith on the Secrets of <i>Passwords</i>

Some artists are naturally loathe to discuss their work in microscopic detail, lest any telling trade secrets be revealed. Not perpetually-disheveled Dawes frontman and main songwriter Taylor Goldsmith. At the mere mention of the Los Angeles group’s slightly sinister new sixth set Passwords, he sings like a canary over every last nuance of the Jonathan-Wilson-produced set, which opens with the Brontosaurus-stomping “Living in the Future” and the abject ode to apathy and ennui, “Stay Down.” And he holds nothing back.

“On one hand, it was important for me to start the record with those two tracks, since they were the bleakest of all he songs, and I felt like if the album were to end with either of those songs, we would have been sending a listener off in the wrong mood,” he explains. “And that’s a mood that we don’t believe in or subscribe to. Other more upbeat numbers like “Crack the Case” and “Time Flies Either Way” are a reaction to that attitude, so I was questioning certain things in life, of what it means to be alive at this moment in time.”

Elsewhere, he expands on these theories, like in “Feed the Fire,” wherein his need for stardom is the same flame that will eventually consume him, and on “I Can’t Love,” which—without cynicism—celebrates the new love he’s found with his fiancée, actress Mandy Moore. “And ‘Greatest Invention’ is a swan song to an image of a woman that never existed,” he says. “And the whole record is about where we’re living, how dark I might feel about it, and then finding some sort of purpose and some sort of meaning in a connection with just one person.”

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Fronted by the enchanting Jess Wolfe and Holly Laessig, Lucius has drawn acclaim for their powerful songs showcasing taut hooks, along with their mesmerizing stage presence and bold visual aesthetics. The New York Times described Wolfe and Laessig’s vocals as being “especially gorgeous,” while Rolling Stone says Lucius is “powerful enough to knock you over.” Talented multi-instrumentalists Peter Lalish and Dan Molad round out the group.

The band has released a pair of albums to date : Wildewoman in 2013 and Good Grief in 2016, which landed on various best-of lists and elicited praise from The Times for its “sunshine-drenched pop” and “vocal harmonies carrying songs rich in melody.”They recently contributed the song “Million Dollar Secret” to one of the last episodes of the HBO show Girls and scored the soundtrack to the film Band Aid.

Wolfe and Laessig have become in-demand collaborators on their own – singing on albums for artists including John Legend, Jeff Tweedy of Wilco, The War on Drugs, as well as Roger Waters’ most recent release, Is This the Life We Really Want? – and have toured as part of Roger Waters‘ band over the last few years.

“MADNESS our new song “Madness,” which started off as nothing more than a transcript of a dream before becoming the opening track on our previous album Good Grief

BORN AGAIN TEEN we’re creating a fan-sourced lyric video for our single “Born Again Teen. “Film what it means to YOU to be a “Born Again Teen” and be entered to win a signed vinyl test pressing of Good Grief 

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We’re pleased to release our Tame Impala cover of “Eventually”. It comes from our new album Nudes out March 2nd.

We wanted to include something special with the NUDES vinyl packaging, something that felt nostalgic and immersive in the same way that the recordings did. Having had them as a kid, zoetropes came to mind; those paper cylinders you spin to watch a moving image through the slits. Turning to the online art community, we figured it was worth a look to see if anyone else was on this wavelength. A few hashtag searches later, with one leading to another, phenakistoscope brought us to our new and incredibly talented friend Drew Tetz. He created this insert for our vinyl that combines old technology (your record player) with new (your smartphone camera) to create this trippy moving image. Check out his incredible work. He has been an absolute pleasure to collaborate with and we can’t wait for you to try these at home! . Available in the Deluxe Vinyl Edition of NUDES

Lucius “Eventually” is a Tame Impala cover from the Lucius acoustic album, NUDES, out March 2nd.

LUCIUS – ” Nudes ” EP

Posted: January 24, 2018 in MUSIC
Tags: ,

Choosing to record an acoustic album, Jess and Holly say, “Amidst nearly every performance over the past few years, we’ve had the opportunity to strip away everything – be it at the center of the crowd, or on stage around one microphone, or in tiny, unexpected rooms around the world – all to share and create an intimate, heartfelt connection with our audience. It’s these moments that have inspired our newest project, NUDES. Recorded over two days at New York’s legendary Electric Lady Studios, NUDES is a collection of acoustic songs: new, from our back catalog – reimagined, and covers we’ve always wanted to record. It is a record giving homage to what has been…and a hint at what’s to come.”

Following the announcement of their 2018 US Acoustic Tour, Lucius have released a new acoustic version of “Until We Get There.” The song was released on Friday and features a stripped down version of the original track off of their 2014 debut album Wildewoman. It’s simultaneously making us nostalgic and excited for the acoustic tour. Check out the track and see if they’re coming to your town next year!

Lucius – “Until We Get There” (Acoustic) [Official Audio]

We’re thrilled announce three unforgettable nights of music, dance and merriment in San Francisco at The Independent to ring in 2018. We’re calling it ….

 A NEW YEAR’S TRIPTYCH
DEC 29 – intimate, acoustic sets (w/ music from Bedouine + dance from The Seaweed Sisters)
DEC 30 – we go ELECTRIC (w/ music from Veers + dance from The Seaweed Sisters)
DEC 31 – an epic New Year’s celebration (w/ a dj, surprise guests + an open bar!)

Many surprises will unfold and each night will be one-of-a-kind!

Jess and Holly continue to tour with Roger Waters in his band throughout October across Canada. The show is spectacular, and if there’s a tour date near you, we highly recommend it.

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Those in attendance at Desert Trip may have missed last night’s presidential debate, but Donald J. Trump’s ominous presence was felt throughout Waters’ headlining set. As he performed “Pigs”, the Pink Floyd member flashed several anti-Trump images. One depicted Trump making a Nazi salute, another had him wearing a KKK hood. There was also an image of the Republican presidential candidate holding a dildo as a rifle and one in which he was was butt naked with his micro-penis in full view. When Waters sang, “ha ha, charade you are,” the word “Charade” appeared overtop Trump’s face.

A number of Trump’s own racist, bigoted, or factually inaccurate messages were also displayed on the video screens, and during his performance of “Another Brick in the Wall, Pt. 2″, Waters brought out a choir of children wearing t-shirts that said “tear down the wall” in Spanish.

Even Pink Floyd’s iconic inflatable pig was repurposed to mock Trump with a message reading, “Fuck Trump and fuck his wall.”

“It’s rare that someone like me gets a platform like this, and I’m going to use it,” declared Roger Waters to thousands gathered in Indio, California, for the final night of Desert Trip’s opening weekend on Sunday. He was the last of the six major acts to perform, all of whom date back to the 1960s and the era of rebellion songs. Before the night was over, he made vivid connections between his work with Pink Floyd and the political crises of the moment.

So there was a truck-sized inflatable pig floating above the crowd during the song “Pigs,” with a map of the U.S. painted on one side with the words: “Together we stand, divided we fall.” On the other side was the face of Donald Trump and the words “ignorant,” “lying,” “racist,” “sexist” and “Fuck Trump and his wall.”
Waters was more aggressive in messaging as he weaved politics as an essential element of his performance of Pink Floyd classics. He read a poem of rage and protest called “Why Cannot the Good Prevail” that he wrote on the eve of George W. Bush’s second term and expressed ongoing support for Palestinians in the multi-decade conflict with Israel.

Desert Trip 2016
But the music of Waters did not become overtly political until late in his career, beginning with his final album with Pink Floyd, 1983’s The Final Cut. Before that, his concerns were largely with madness and the dehumanizing of the personal. Sunday’s set eased into focus with classic Floyd imagery, with a vast moonscape on the stage’s super-wide screen, as familiar sound effects from Pink Floyd recordings slowly emerged from the venue’s various speaker towers, like something on an old quad stereo from the Sixties or Seventies.


The music began with “Speak to Me” and “Breathe,” the opening songs from 1973’s The Dark Side of the Moon, which remains one of the best-selling albums in history. From the same album was “Time,” lush and forward looking but classically melodic amid the dark messages: “Short of breath … one day closer to death.”
From The Wall, Waters strummed an acoustic guitar and sang “Mother,” with the words “Mother should I run for president?” drawing cheers from fans, then a bigger response for “Mother, should I trust the government?” The gifted singing duo Lucius were recruited as vocalists, and performed the the voice of “mother,” sweet, soulful and smothering.

Roger Waters

Set list
“Speak to Me”
“Breathe”
“Set the Controls for the Heart of the Sun”
“One of These Days”
“Time”
“Breathe (Reprise)”
“The Great Gig in the Sky”
“Money”
“Us and Them:
“Fearless”
“You’ll Never Walk Alone”
“Shine On You Crazy Diamond (Parts I-V)”
“Welcome to the Machine”
“Have a Cigar”
“Wish You Were Here”
“Pigs on the Wing 1”
“Pigs on the Wing 2”
“Dogs”
“Pigs (Three Different Ones)”
“The Happiest Days of Our Lives”
“Another Brick in the Wall (Part 2)”
“Mother”
“Brain Damage”
“Eclipse”
“Why Cannot the Good Prevail”
“Vera”
“Bring the Boys Back Home”
“Comfortably Numb”

“Something About You” is the newest track off the Lucius’ new album ‘Good Grief’ due out on the 11th March , Lucius have shared a fairly ‘out there’ new video for their latest single . It’s the third song they’ve revealed from their upcoming album ‘Good Grief,’ after previously releasing ‘Born Again Teen’ at the end of last year. ‘Good Grief’ comes out on 11th March via Play It Again Sam Records.

Lucius’ bonkers new video for ‘Something About You’ was directed by Los Angeles’ Mimi Cave, who has also directed several video bits and bobs for tUnE-yArDs in the past. Band vocalists Jess Wolfe and Holly Laessig skip around a plastic world of pyramids and mysteriously opened doors, growing extremely long limbs, and dancing in blank white rooms (serious ‘Hotline Bling’ vibes, there) throughout.

Wobbling bass plucks, wafting synths sent straight from Saturn, and hypnotic kaleidoscopes; this is surreal, barmy pop music of the best kind. We’re dead chuffed to have the first play of Lucius’ ‘Something About You’ video. Have a watch , and scroll down to check out the Brooklyn band’s upcoming European tour dates.

Care to share a ride with Lucius? Then hop in, but only if you don’t mind making stops to pick up some “friends,” taking a quick detour when the cops show up and hearing their new single “Born Again Teen” along the way. Don’t worry: There’s time for an ice cream break. With a new album “Good Grief” schuleded for next March 2016 and a UK tour , Members: Jess Wolfe Holly Laessig Dan Molad Peter Lalish Andrew Burr.