Skip to main content

Steve Lacy – Apollo XXI (2019)

Steve Lacy – Apollo XXI
Image result for apollo xxiImage result for steve lacy 2019
Steve Lacy has been the hot topic, the behind-the-scenes producer and studio-everyman for the last few years. Making his way into the mainstream with the hip-hop band/collective The Internet, he released his first truly stellar album with them back in 2018. That record, Hive Mind, leaned into Lacy as a virtuosic instrumentalist and producer who had developed a warm guitar sound akin to Mac DeMarco (an influence Lacy acknowledges was huge). The year before that, Lacy had a production credit on Kendrick Lamar’s Damn. and in 2018, he produced Raven Lenae’s amazing debut EP Crush. Leading up to the release of this, his full-length debut Apollo XXI, he’s been busy contributing to Solange’s When I Get Home and some of the best songs on Vampire Weekend’s new album. Needless to say, people have been awaiting Apollo XXI with bated breath, and for the most part, he delivers. The second track off Apollo, “Like me” is an immense 9 minute medley of Lacy’s distinct styles, shifting from singing to raping to guitar and employing lush harmonies and near trap production. Throughout the record, Lacy proves that he can handle the album himself for a full 43 minutes; he writes the songs, plays the instruments and sings with a laidback L.A. swagger, especially on “Lay Me down,” where an infectious guitar is elevated with sunny punchy vocals that are firmly in the driver’s seat. “N Side” is another fun summery jam that masquerades it's introspective look inside the 21-year-old’s process. There are only a few points on Apollo, where it seems that Lacy’s instrumentation is a little too bare or uninteresting to really carry the song, “In Lust We Trust” is catchy but kind of slinks along distractingly and “Basement Jack” is a little too slight to really change the pace up the way it could. These are small gripes and Apollo XXI is a beautiful and fun little album. It’s not the game changer I think Steve Lacy is capable of, but it is a stellar debut from a musician I am always excited to hear from.
~8.0

Comments

Popular posts from this blog

Concert Review: Wilco at The Riviera Theatre, – 3/26/23

Wilco at The Riviera Theatre, – 3/26/23 Chicago’s Uptown neighborhood was once the center of the city’s booming entertainment district. Located at what had initially been the end of the L Train system, The Aragon Ballroom, Green Mill Jazz Club, and long-defunct Uptown Theatre quickly defined the corners of Broadway and Lawrence Avenue as the designated area for Chicagoans to congregate for the arts. As the area’s zeitgeist waivered though, the theatres grew into a weekend oasis of vibrancy amongst an otherwise casual and sleepy north-side neighborhood. Given Wilco’s consistent championing of Chicago’s local institutions, and another Uptown landmark Carol’s Pub in particular, The Rivera Theater seems like exactly the kind of venue for the band to host their latest three-night run and the start of their spring tour. Jeff Tweedy and company know the former movie palace well, playing there many times over the years and even using it as the base for a five-night series of performances b...

Buck Meek – Haunted Mountain (2023)

Buck Meek – Haunted Mountain   Big Thief, one of the best and most adept bands of the 21 st century, has done more in six short years than most bands can squeeze out of an entire catalog. Each of their five studio albums has managed to expand their signature homespun charm into exciting, self-contained albums. The sound always moves forward but with distinct detours projecting their country-folk and singer-songwriter tendencies over disparate palates. The band’s prolificity extends to their solo catalog as well, the most notable inclusions naturally coming from lead singer and principal songwriter Adrianne Lenker. But behind her eclipsing generational talent, is guitarist Buck Meek, an artist who could easily shepherd his own headlining band if he needed to. Aside from some early, Big Thief-adjacent work, Meek’s true breakout was with 2021’s Two Saviors , a beautiful, alt-country collection of songs, most of which approached the quality, if not the scale of his mother band’s...

Fever Ray - Radical Romantics (2023)

Fever Ray – Radical Romantics Karin Dreijer’s debut solo album Fever Ray came out only shortly after Silent Shout , an album that was almost immediately hailed as The Knife’s masterpiece. The inevitable comparisons seeped out, no one was completely ready to accept the more cavernous Fever Ray as any sort of a replacement for the lush maximalism of Dreijer and her brother’s The Knife. Regardless, Dreijer had proved how essential they were to that project and by 2014, the two had disbanded. Fever Ray’s next album Plunge continued Dreijer’s push towards empty space with an angrier and more overtly political edge and simultaneously built Fever Ray into a proper entity in its own right. Radical Romantics is a Fever Ray album in that its fixations swarm around Dreijer, all their proclivities, and all their vulnerabilities. It’s also the closest Fever Ray has ever sounded like The Knife, whether it be the soaring and anthemic “Shiver”, or the pronounced synths ripples on “New Utensi...