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...

Beach Fossils – Bunny (2023)

Beach Fossils – Bunny Give Beach Fossils credit, despite longtime comparisons to Wild Nothing, DIIV, and Real Estate, Dustin Payseur has always done a better job navigating the restraints of his sound. Beach Fossil’s debut is bright and lo-fi jangle rock, Clash the Truth brings a slightly harder and wispy, post-punk edge, and the underrated Somersault glistens in the sheen of a would-be major label debut. Each album is distinctly Beach Fossils though, the guitars and reverb-soaked vocals determined to reap the nostalgia of both fleeting, youthful summers, and the band’s own back catalog. Bunny comes six years after Somersault , a gap that saw the band celebrating the anniversary of their debut through live performances with label mate Wild Nothing as well as the release of an album of piano renditions of the group’s past work. The pandemic could partly be blamed for the long wait time, but regardless Bunny still holds a lot of expectations, and when the band’s last album landed...