It’s rather uncommon for a band approaching two decades in the business to release a self-titled album. It might seem even more uncommon when that same album happens to be their fourth studio release. Lucius, however, the American four-piece led by Jess Wolfe and Holly Laessig, is far from common. The band’s self-titled fourth album, Lucius, is a fine addition to their discography, proving a rich, genre-blurring statement that serves as a perfect re-introduction of the band to the world, in both name and feel.
The band’s level of quality should come as no shock considering lead singers Jess and Holly have a stacked resume of collaborations from Roger Waters and Harry Styles to Ozzy Osbourne and John Legend. Despite the respect of their peers, the wider world likely hasn’t fully grasped the wonderful harmonies and eclectic instrumentation that place the band in their own orbit. However, this self-titled album, released today, is packed with tunes that should do just that.
The album opens with “Final Days”, a track that sets the sonic tone in spectacular fashion. Somber piano lines unfurl beneath Wolfe and Laessig’s ethereal vocals, before searing synths and guitar feedback tear through the haze like sunlight through storm clouds. Sonic textures blend as acoustic guitars, synths and roaring feedback bleeds together over the lead duo’s velvety vocals.
Opening the track are the lines “I hope I didn’t let you down ‘cause it’s too late to make a change”, proof that the band have a mighty command of the pen. Lyrical gut punches float effortlessly through the album, with lines like “I’ll be looking out there for you, all I see is empty sky, the space you left reminds me, that we won’t have to say goodbye.”
From the first note, Lucius is personal, textured, and brimming with feeling. It’s a perfect reintroduction for longtime fans and an immediate hook for new ones.
With a handbrake turn, “Gold Rush” follows. An upbeat, groove-heavy jam, the second track would feel right at home on a Jack White record. Its funky guitar riff and infectious chorus bring a swagger and lightness to the album, proving the band’s range. It’s a bop in every sense—bright, bold, and impossible not to move to.
The tempo dials down for “Do It All for You”, a tender, the fingerpicked ballad anchored by harmonies and subtle percussion. “I lose myself to find you, and you save me every time,” opens the track, wearing its heart openly. Another vocal showcase, this one shows off the group’s skill at refined and uncomplicated yet seamless arrangements. Small elements contribute, but nothing ever feels crowded, and everything is purposeful.
Arguably the emotional centrepiece of the record, “Mad Love” is a stunning display of harmony, songwriting and production restraint. The two vocalists combine on this one to provide one of the strongest, most beautiful performances so far. With its acoustic backbone and country-adjacent tones, the chorus soars into its notes like a slow draw of a violin bow. Tender but emotional. Landing like a deep exhale, it’s a high point that confirms there’s no mid-album slump.
The band veers into a more experimental sonic territory with “Stranger Danger”. Warped synths, skittering beats, and a spacious mix take things into stranger but more intriguing place. The warbling effects and stylistic shift are taken with care, and the production remains laser focused. Taylor Goldsmith’s subtle contributions lend depth without crowding the band’s signature sound. As the chorus finds well-worn ground, a well-timed switch up in the bridge adds variety and keeps the energy afloat.
As the album risks repeating itself sonically, “Hallways” gently shifts the palette again with bouncing synths and chiming bells. The superlatives for the band’s harmonic tendencies and expressive production are difficult to truly express. Then, the War on Drugs’ Adam Granduciel joins for “Old Tape”, which brings a wonderful foot-taping beat and slick guitar lines that light up the track. A deft balance of indie sheen, this one is a worthy collaboration that begs for more.
“Impressions”, co-written with Madison Cunningham and Ethan Gruska, is a funky mid-tempo wonder with a propulsive string line and one of the album’s most wonderful lyrical sprinkles in lines like “Half of me is here and half of me is running Half of me is wishing I decided on something.” Both funky, whimsical and catchy, this one’s a playful standout in the approaching back end of the album.
“Borderline” opens like a cowboy lullaby, as spring reverbed guitars collide with a melodic motif that’s simple but undeniably catchy. An interesting combination of many things, it’s charming, and defiantly original. Laessig and Wolfe lean into their pop-noir sensibilities here, even if I was hoping for a bigger moment in the chorus.
The final two tracks shift into reflective mode. “Orange Blossoms” trades the big hooks for a raucous, messy chorus that feels like a celebratory farewell. “At the End of the Day”, meanwhile, is pure folk beauty. The final track feels built for a Hollywood golden age classic featuring Jimmy Stewart and Grace Kelly in Techni-colour. The gaiety of the final track belies the grounded lyrics about “shit in the yard, and bills piling up”. The delicate strings that flutter in the background offer a whimsical emotional pull that ties the bow on the albums soft landing. It’s a fitting close to a vibrant, shapeshifting journey.
Final Thoughts
On their fourth full-length, Lucius sound reborn. The songwriting is razor-sharp, the production is adventurous but clean, and the arrangements feel considered. Despite nearly two decades together, there’s a hunger to this record that resembles a debut, like a band reasserting their voice after a long time lending it to others.
These are songs feel built to last. Full of craft, care, and emotional intelligence, whether you’re a longtime follower or a first-time listener, this record rewards attention and repeat plays. For lack of a better word here, there is a vibe here that feels unmatched, and I want more.
The sense of audible community across Lucius that pulls seemingly distant genres and soundscapes together deserves high praise. Of course, the lead duo’s harmonies remain among the best you’re going to get, and their ability to traverse folk, indie, synthpop, and art-rock without losing their identity is remarkable.
There are a few tracks that feel comfortable reaching only cruising altitude and maybe rest on well written laurels. However, I don’t expect transcendent power ballads or anything. That lack of desire to hunt for the most algorithmically pleasing chorus line will either sell this album to you, or not. I fall firmly in the former and appreciate the pensive approach and refined delivery.
Arguably one of the year’s most satisfying and well-rounded releases thus far, Lucius have produced a vibrant, deeply emotive record that builds a collection of timeless, finely crafted tunes that are a testament to the band’s ability in production, songwriting, and performance.
FOUR AND A HALF STARS (OUT OF FIVE)
Lucius is out now – grab a copy HERE
