Posts Tagged ‘Lucy Dacus’

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At the tail end of Boygenius’ penultimate song in their live set, Julien Baker shreds on the guitar, playing a classic rock-inspired solo that’s completely out of place in her or either of her bandmates’ back catalogue. It’s something Lucy Dacus mentioned in a recent interview, that in the recording sessions for the Boygenius EP, Phoebe Bridgers would “suggest an idea as a joke, and then we realized, ‘Wait, this is an amazing idea!’” Those lighthearted, playful vibes are very much on display when you see the folk supergroup live; when Baker begins to solo, Bridgers and Dacus try their absolute hardest to get her to laugh, sometimes waving lighters and other times rolling around on the ground. The trio’s live energy is undeniably infectious and the crowd is more than willing to send it right back, even at the end of a show that spans four whole hours. This round of Boygenius shows, likely to be the only ones of their kind, simply represent three good—and generationally talented—friends at the top of their respective songwriting games, having the time of their lives. While there’s a definite “I was there” feeling to these shows, we definitely hope this likely once-in-a-lifetime tour happens again sooner rather than later.

Boygenius performs “Me & My Dog” for Late Night with Seth Meyers.

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New Indie-rock godsends Boygenius aka Phoebe Bridgers, Julien Baker and Lucy Dacus  made their TV debut on Monday’s Late Night with Seth Meyers, performing the song “Me & My Dog,” one of the three singles from their self-titled debut EP.

Bridgers takes lead on “Me & My Dog,” and if her opening lines (“We had a great day / even though we forgot to eat / and you had a bad dream”) don’t send shivers down your spine, you may want to verify that you have a heartbeat. Seeing Bridgers, Baker and Dacus step to their mics to sing in unison—to say nothing of Bridgers’ towering sustained note at the song’s climax is nearly sublime enough to make one forget what an anxiety-ridden day today is.

The trio surprise-released boygenius on digital platforms on October. 26th, two weeks ahead of its official physical release this Friday, November 9th. Bridgers, Baker and Dacus wll embark on a North American tour together .

Boygenius perform “Me & My Dog” on Late Night

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The good people at Matador Records have finally pulled back the curtain on their new supergroup made up of songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers. The all-star trio’s self-titled, six-track EP Boygenius is coming out on November. 9th via Matador, but you can hear the project’s first three singles now.

Dacus, Baker and Bridgers’ mysterious and much-anticipated team-up first made waves in early August when Bridgers confirmed its existence at an NPR Music event. Soon after, a media outlet received a photo of the group, accompanied only by the word “boygenius” and the Matador logo. We now know that to be the name of both the trio and their forthcoming release, previewed via lead singles “Me & My Dog,” “Bite The Hand” and “Stay Down.”

Bridgers takes point on the affectionate, yet anxiety-ridden “Me & My Dog,” singing over steady electric guitar strums, “I had a fever / until I met you / Now you make me cool / but sometimes I still do / something embarrassing,” her gossamer vocals giving way to delicate banjo notes and droning synths. Baker’s voice bolsters Bridgers’ as the chorus-less song crescendos, pushing through the fears that obstruct desire. “I dream about it and I wake up from it,” the duo conclude, their voices drowned out by a rising tide of reverb.

Second single “Bite The Hand” is Dacus’ chance to shine, an unflinching declaration of independence that would have fit right in on Historian. What sets it apart from her solo work, however, is its choruses, on which Dacus, Baker and Bridgers harmonize to drop-dead gorgeous and increasingly powerful effect, warning an unwanted partner, “I can’t love you how you want me to.” The song closes on their voices, with nothing but bare conviction against the silence.

The devastating “Stay Down,” meanwhile, is all Baker, her trademark reverb-steeped guitars and emotive vocals expanded upon with scattershot percussion and moving strings. Her lyrics are shot through with heart-rending resignation: “I wasn’t a fighter till somebody told me / I had better learn to lean into the punch / so it don’t hurt as bad when they leave / There you were, turning your cheek,” Baker begins, later demanding, “Push me down into the water like a sinner, roll me under / and I’ll never come up again / I’ll just stay down.” Fuck us up, boygenius.

 

Dacus, Baker and Bridgers head out on tour together this November, though they won’t do so as a trio—rather, they’ll each be performing their own solo sets. But who knows? Judging by the unpredictable way in which their boygenius team-up has come to light, perhaps the collaborators will see their way to delivering some surprises live, as well.

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed Boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

“When we met, Lucy and Phoebe and I were in similar places in our lives and our musical endeavors, but also had similar attitudes toward music that engendered an immediate affinity,” Baker explains. “Lucy and Phoebe are incredibly gifted performers, and I am fans of their art outside of being their friends, but they are also both very wise, discerning and kind people whom I look up to in character as much as in talent.”

Listen to boygenius’ EP “Me & My Dog,” “Bite The Hand” and “Stay Down”.

Lucy Dacus, Historian

A long and hectic, albeit fruitful, year is just getting going for 22-year-old Lucy Dacus, following the March 2nd release of what is decidedly her breakthrough LP, Historian, on Matador Records. Where her first LP, No Burden showcased her talent for embedding meditative lyrics inside approachable rock songs, Historian is a major artistic stride.

If you’ve ever picked a scab and felt pacified watching the slow bleeding, you’ll know the strange satisfaction of revisiting wounds that won’t heal. I began listening to Lucy Dacus’ Historian while mourning a relationship that was long dead. Its painful dissolution symbolized something more difficult: a loss of youthful idealism, a growing weariness with the world around me. The 22-year-old Dacus has a knack for distilling feelings that, while universal, feel denser at this age. Her evocative, tightly-wound lines unravel the messiness of human emotion: “I feel no need to forgive, but I might as well / Let me kiss your lips, so I know how it felt,” she sings on “Night Shift,” her sweet voice cleaving cleanly through the complexities she’s laid bare. It’s an album that allows you to surrender to your most vulnerable self, sober and unguarded

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“Night Shift,” the opener on Lucy Dacus’s sophomore LP, is a scorching kiss-off to an unworthy ex that starts quietly and builds slowly. Dacus sings softly at first, her dark, honeyed voice gaining momentum as the acoustic guitar picks up support from bass, drums and then, two-thirds of the way through, an overdriven electric guitar that punches through the facade of calm as Dacus lets her voice loose. “Addictions” is no less impactful: chiming guitar at the start rolls into a chugging riff on the refrain, punctuated by a huge brass fanfare that immediately retreats—and never exactly repeats. The genius of the song is the way Dacus steers it in unexpected directions, the horns circling her voice here and veering off on their own there in a way that makes the tune take flight. It’s a talent she demonstrates throughout Historian.

Watch Lucy Dacus perform a few new songs from her new album ‘Historian’ at the PledgeHouse day stage. The extraordinary singer songwriter Lucy Dacus, is one of the most heavily-buzzed acts playing Austin this week. Some artists just have a presence, captivating listeners from the first note, and Lucy Dacus is very much among them. Whether her songs come in a quiet wash or a rocking churn, her powerful and expressive voice cuts like an airplane wing through atmosphere, pulling the music up and up and up. Songs like “Night Shift” — the title track to her new album Historian reward the attention with uneasy, engaging lyrics.

You might not have caught the buzz for Lucy Dacus’s superb released 2016 album ‘No Burden,’ but you’d have to have your head in the sand to miss the wild anticipation for her sophomore LP ‘Historian.’ Her lilting and confessional brand of indie-rock will make for a riveting live set.

Historian is a record that’s great for introspection and Thinking About Your Life™, but it’s also the perfect kind of music for a late afternoon outdoor set in Texas, Lucy Dacus’s music can feel like a bit of a slow burn, but the layered, aching guitars sound like they’re a lost recording session from every influential guitarist from the 90s. It’s great.

Songs performed: 0:57 Historians 4:22 Nonbeliever 12:55 Body to Flame 16:32 I Don’t Wanna Be Funny Anymore

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Album of the week has to go to Simply Saucer, one of my all time favourite records, a legendary proto-punk classic and a must for any fans of The Velvet Underground/The Stooges/Modern Lovers or weirdo Psych-punk. So chuffed that In The Red have reissued this with a bonus Live LP too. Gwenno returns for her second album in an unfathomable language (to me anyway), with ‘Le Kov’ sung entirely in Cornish, but retaining every bit of the interest that had her last LP playing constantly in the shop. All-round top producer and session musician Jonathan Wilson has a new full-length out, the latest since his 2103 stormer, Fanfare. It’s no surprise that he’s really not missed a trick on the production front, but the songs themselves are stunning, heartfelt and unmissable.

Soccer Mommy’s new one covering the jangly lo-fi end of the spectrum with aplomb, sounding like a grungy distillation of the 90’s with today’s saturated tape aesthetic, brilliantly varied but hugely satisfying. If this isn’t quite heavy enough for you, then you could do worse than the storming Moaning LP on Sub Pop, at points sounding like a bastard child of NY hardcore and melodic post-punk, but brought together with a wonderously heavy, but undeniably glossy aesthetic.

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The impassioned, self-titled debut from Los Angeles-band Moaning produced by Alex Newport.
Moaning is a band defined by its duality. The abrasive, post punk trio comprised of Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after they met in L.A.’s DIY music scene. Their debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future. The trio began regularly frequenting DIY institutions like The Smell and Pehrspace, eventually selling out dozens of their own shows at both venues with their first few bands. Solomon recalls, after a brief hiatus from playing together, Moaning’s conception came when he sent Stevenson and MacKelvie the first demo for Don’t Go, setting the tone for the impulsive songwriting that would follow. The three fleshed out Solomon’s primitive recordings, adding in MacKelvie’s heavy syncopated drumming, and Stevenson’s melodic driving bass and synth parts, capturing each member’s personality in their sparse and fuzzed out tracks. Like many of their previous collaborative projects, Moaning forces pain up against pleasure, using the complexity of personal heartbreak to inform the band’s conflicted sound. The band eventually landed on the apt moniker Moaning, admiring the ambiguity the name held and hoping to reference both an intimate wail and an anguished scream.

Suuns felt

Suuns are pleased to announced their new album, Felt, coming out March 2nd on Secretly Canadian. Singer/guitarist Ben Shemie says, “This record is definitely looser than our last one [2016’s Hold/Still]. It’s not as clinical. There’s more swagger.” You can hear this freedom flowing through the 11 tracks on Felt. It’s both a continuation and rebirth, the Montreal quartet returning to beloved local facility Breakglass Studios (where they cut their first two albums [Zeroes QC and Images Du Futur] with Jace Lasek of The Besnard Lakes) but this time recording themselves at their own pace, over five fertile sessions spanning several months. A simultaneous stretching out and honing in, mixed to audiophile perfection by St Vincent producer John Congleton (helmer of Hold/Still), who flew up especially from Dallas to deploy his award-winning skills in situ.

Complementing O’Neill are the ecstatic, Harmonia-meets-Game Boy patterns unleashed by electronics mastermind Max Henry. Eschewing presets, Henry devised fresh sounds for each song on Felt while also becoming a default musical director, orchestrating patches and oscillations. Quietly enthusing about “freaky post-techno” and Frank Ocean’s use of space, he’s among your more modest studio desk jockeys: “Yeah, I sat in the control room while the others played – hitting ‘record’ and ‘stop’. It also gave me the flexibility to move parts around and play with effects. I do have a sweet tooth for pop music.”

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Titus Andronicus A Productive Cough

Since debuting in 2008, Titus Andronicus [hereafter +@] has been conditioning faithful listeners to expect only the unexpected. With A Productive Cough, +@ has executed the most shocking departure yet—but only if, as ever mercurial singer-songwriter Patrick Stickles insists, “you haven’t been paying attention.” In a move that may infuriate the black-denim-and-PBR set, A Productive Cough sets aside leadfooted punk anthems in favor of a subtler, more spacious approach that pushes Stickles’ soul-baring songwriting to the fore, creating an intimacy between artist and audience with which previous +@ efforts had only flirted. “[+@] records have always had their fair share of ballads,” Stickles explains, “but they were always buried amidst a lot of screaming. Now, they are the cornerstones. Punk rock is nice, but it is but one tool in the toolbox from which I pull to achieve my artistic purpose, and that purpose has always been communication and validation. This time, perhaps I can more effectively talk to the people if I am not so busy yelling at them.” The mission of A Productive Cough is apparent from the first bars of opening track “Number One (In New York).” As a tableau of piano and dulcet horns unfolds, Stickles unleashes a breathless and unceasing 64-bar verse with subject matter as sprawling as the kitchen-sink arrangement, which grows to include sparkling guitars, twinkling bells, and uplifting choral vocals as Stickles searches desperately for the strength to carry on through an increasingly violent and frightening world.

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Darlingside – Extra Life 

Extralife is the follow up to the band’s 2015 breakthrough, the highly praised Birds Say. Where Birds Say was steeped in childhood nostalgia and the loss of innocence, Extralife finds Darlingside looking to the future, mourning the loss of our world with an almost post-apocalyptic view. While the subject matter may seem bleak, Extralife is not without an underlying sense of hope and optimism. Extralife looks at hard truths ranging from societal issues, politics, environmental concerns and religious tensions as catalysts for where we may be headed. While the issues of today dominate every form of media and communication, Darlingside views it all from a different lens. The group looks past the now and predicts the life to which we could potentially be headed as a fictional narrative, but is it? How the group could address such a dark subject with such artistic beauty and grace is a testament to the distinctive nature of Darlingside.

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Tracey Thorn –  Record

Tracey Thorn’s first solo album of entirely original material for seven years.

Describing Queen, Tracey says: “It’s a great opener for the album – driven along by Ewan Pearson’s unashamedly glittering electro-pop production, drums and bass from Warpaint’s Stella and Jenny, it features me playing electric guitar for the first time in a while, and singing my heart out.”

As ever the personal has often been political in Tracey Thorn’s work. “Nine feminist bangers,” Tracey Thorn jokes when asked to describe ‘Record.’ If this album is in part about freedom and disenthrallment, new single ‘Queen’ is the opening broadside, all personal fire and desire. Her voice, self-assured and richly-textured, yet confessional and affecting, spits out the lyrics on ‘Record’ with a fresh compelling drive and remains one of the finest female pop voices of the last four decades.

”I think I’ve always written songs which chronicle the milestones of a woman’s life.” she says. “Different ages and stages, different realities, not often discussed in pop lyrics. If 2010’s Love and Its Opposite was my mid-life album – full of divorce and hormones – then ‘Record’ represents that sense of liberation that comes in the aftermath, from embarking on a whole new ‘no fucks given’ phase of life.”

On Record, the synth-driven tracks arrive and leave with a punchy sub-three-minute directness. “I wanted it to be a record you’d listen to in the daytime,” Tracey says. “On your headphones or on the move. Not necessarily in the evening, or in your bedroom.” For all its no-fuss pop brevity, the album rotates around Sister, a dubby nine-minute Compass Point-style disco jam where Tracey is joined again by Warpaint’s rhythm section and glorious backing vocals from Corinne Bailey Rae.

Across four decades Tracey’s songs and writing have offered up a clear-eyed woman’s view of the immediate world around her; from the acerbic teen love songs of her first early-eighties band Marine Girls, through sixteen years as one half of articulate multi-million-selling duo Everything But The Girl to her recent acclaimed memoirs and journalism.”

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Lucy Dacus –  Historian

Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock’s most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. “This is the album I needed to make,” says Dacus, who views Historian as her definitive statement as a songwriter and musician. “Everything after this is a bonus.”

Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus’ remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

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The Men  Drift

Drift is the seventh full-length by NYC rock polymaths The Men. The band’s last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album’s nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, “Killed Someone,” is a rowdy riff-rocker, worthy of the finest moments of the band’s now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. “Secret Light” is an improvisation based on an old piano riff of Perro’s. “Maybe I’m Crazy” is a synth-driven dancefloor stomper for long after last call. “Rose on Top of the World” and “When I Held You in My Arms” are paisley-hued, psyched-out jams with big, beating hearts.

The album was recorded to 2″ tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren’t many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

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Soccer Mommy – Clean

Following on from last years compilation “Collection”, Nashville based Sophie Allison aka Soccer Mommy now brings us her debut album proper. Produced by Gabe Wax (Deerhunter, War On Drugs, Beirut), the new album is a huge step up from her earlier bedroom recordings. The fuller sound works perfectly with Sophie’s finely crafted, bitter-sweet pop songs that have a world weary quality beyond her 20 years.

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Jonathan Wilson  Rare Birds

Jonathan Wilson had a busy 2017, producing Father John Misty’s grammy nominated Pure Comedy and touring arenas around the globe as a guitarist and vocalist for Pink Floyd legend Roger Waters (for whom he also contributed to the lauded Is This The Life We Really Want? album.) Wilson also saw widespread acclaim heaped on Karen Elson’s sophomore LP Double Roses, which he recorded with her in Los Angeles in 2016.

But it’s not looking like Wilson is going to get much of a rest in 2018 either, as he’ll be continuing on with the worldwide Waters tour and is set to release his own new solo album Rare Birds in the spring. The highly anticipated long player – which features backing vocals from Lana Del Rey, Josh Tillman, fellow Roger Waters bandmates Lucius and an extraordinary musical gift from otherworldly Brian Eno collaborator Laraaji – will be released through Bella Union worldwide.

Although much of the album is comprised lyrically of meditations on a failed relationship and its aftermath, Wilson insists that Rare Birds is not really a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming healing music. I think we need journeys in sound, psychedelic gossamer-winged music that includes elements consciously and purposefully to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.”

And, for this one, music critics will need to retire the comparisons to heritage rockers and Laurel Canyon troubadours as they’re hardly useful anymore. Wilson’s new sound takes a synthetic/acoustic, best-of-both-worlds analog/digital hybrid approach to achieve the complexity, sonic density and glossy hi-fi coating of Rare Birds. Heard for the first time on a Jonathan Wilson album are the sounds of synthesizers and drum machines.

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The Breeders  All Nerve

All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod

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Simply Saucer  –  Cyborgs Revisited

Simply Saucer’s Cyborgs Revisited is an explosive time capsule from one of the great Canadian cult rock ‘n’ roll groups. Formed in Hamilton, Ontario, these sci-fried proto-punks created a sound fusing Hawkwind, The Kinks, Pink Fairies, Syd Barrett-era Pink Floyd, and the omnipresent Velvet Underground. Originally recorded from 1974-1975, the album became a critically revered classic when it was finally unearthed in 1989 by Mole Records. Now, In The Red is proud to release the definitive, remastered double album edition featuring new liner notes by band biographer Jesse Locke, unseen images, and the complete live recordings available as a second album for the first time ever. As a means to escape his oppressive experiences while living in a practice space surrounded by biker gangs, singer and fretboard-shredding guitarist Edgar Breau wrote a set of songs filled with dystopian visions of the future, conjuring metalloid thugs, Eva Braun’s cyanide love affair, and “dancing the mutation.” With nimble-fingered bassist Kevin Christoff, clatterwauling drummer Neil DeMerchant, and electronic cosmonaut John Ping Romany LaPlante (Breau’s foster brother and answer to Pere Ubu’s Allen Ravenstine), his lyrics were launched into a sonic supernova. Their first recording session took place in the basement of brothers Bob and future superstar producer Daniel Lanois and was initially intended as a demo. Naturally, interest was non-existent for the sneering six-song set. It’s shocking how anyone could have overlooked Bullet Proof Nothing, an undeniably catchy VU-swiping anthem for the used, abused, and confused. Shelving these sessions, the band ascended into the future with 15-year-old drummer Tony Cutaia. This set off a series of gigs before the band touched down on the roof of a local shopping center!

Last but Most Importantly, Patrick, Stu and Katy (or not Patrick, Stu and Katy, depending on how secretive they want to be) are now hither forth to be known as TALKING DRUMS, their record is out now and available in-stores! I’ll eat my hat if this one doesn’t fly off the shelf because it’s Amazing, and you need to hear it.

This weeks —–
Simply Saucer – Cyborgs Revisited – In The Red
Pye Corner Audio – Where Things Are Hollow – Lapsus
Street Sects – Rat Jacket – Flenser
Turbonegro – Rocknroll Machine – Burger Records
Dwarves – Take Back The Night – Burger Records
Hans Zimmer – True Romance OST – Enjoy The Ride
Max Eastley/ Steve Bereford/ Paul Burwell & David Toop – Whirled Music – Black Truffle
Dead Moon – Cracks In The System – Mississippi Records

Lucy Dacus Shares Second <i>Historian</i> Single, the Anthemic "Addictions"

Historian, will be the sophomore album from Richmond, Va. native Lucy Dacus, counting down the days until its March release. Our anticipation has only intensified with the release of “Addictions,” the second single from Dacus’ impending record.

The second track on Historian, “Addictions” is an honest, horn-assisted anthem, accompanied by a video directed by the singer-songwriter herself. Dacus, a former film student, was able to put her cinematic skills to use in the making of the video, in part a love letter to her native Richmond. A nameless protagonist explores the city, viewing it through a magical, black-and-white frame while reflecting upon her past. This visual device separates the reality of the present (the world of color) from the fantasies of the past (the black-and-white world), reinforcing the central idea of “Addictions”—how we come to rely upon substances, activities, places or people, and how hard it can be to leave them in the past. “You’ve got addictions too, it’s true,” Dacus insists as the song crescendos, forcing each one of us to look inward and take stock of all we’re holding on to.

Historian is out on March 2nd via Matador Records. You can revisit the album’s initial announcement—and its superlative first single, “Night Shift”

“Night Shift,” the first single off Lucy Dacus’s sophomore album and first for Matador Records, “Historian”, opens with the lyrics, “the first time I tasted somebody else’s spit, I had a coughing fit.” With this very quotable line she embarks upon her first breakup song, and it bodes very well for the album to come.

After making a big impression with her 2016 indie folk debut, No Burden, Lucy worked again with producer Collin Pastore for her new album. Noted producer and engineer John Congleton did the mixing. Lucy also impressed us live with her stage presence and tight band, and we named her one of the best new(ish) rock bands of 2016. I know it seems absurd and headline-grabbing, but honestly this song is going to be the high bar to hit for guitar-driven, brokenhearted love songs in the coming year. We’ve been looking forward to the new album, and with what we’ve heard so far, it promises to be a worthy one.

This stunning song will be the opening track to Lucy Dacus‘ second album, Historian. The track runs the span of musical emotion from frail to fierce, clocking in at almost 6:32. “Night Shift” is filled with a helpful heaping of resentment: “You don’t deserve what you don’t respect/Don’t deserve what you say you love and then neglect.”

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We’ve been waiting a long while to write these words: Lucy Dacus has announced her sophomore album. “Historian” is due out on March 2nd via Matador Records, and with its unveiling, Dacus has shared her first-ever breakup song, the devastating “Night Shift.” .  Night Shift is a six and half minute opus, moving from gently strummed guitar and dulcet vocals to a distorted, throbbing, emotional crescendo. It also opens with possibly our favourite line of the year so far, “The first time I tasted somebody else’s spit, I had a coughing fit”.

“Night Shift,” Historian’s opening track, is a scathing ode to an unfaithful lover. “Don’t hold your breath. Forget you ever saw me at my best,” commands Dacus. “You don’t deserve what you don’t respect.” Nowhere near content with being neglected, Dacus is so driven to put the past behind her that she takes the titular night shift: “You got a 9 to 5, so I’ll take the night shift / and I’ll never see you again if I can help it.” It’s no less ferocious for Dacus’ delicate delivery.

The Richmond-based indie singer songwriter was among the best new artists of 2016, her debut LP “No Burden” made our top albums of last year and the album opener “I Don’t Want to Be Funny Anymore” was lauded in the top 2016’s best songs. Needless to say, Historian, produced by Collin Pastore in Nashville and mixed by Grammy winner John Congleton, is one of our most anticipated albums of 2018.

“This is the album I needed to make,” says Dacus, who sees Historian as her definitive statement as a songwriter and musician. “Everything after this is a bonus.”

Listen to “Night Shift” below

From the new album ‘Historian’ out March 2nd on Matador Records