A deep exhale with emotions pouring out as oppose to carbon dioxide. This dramatic and immensely expressive album acts as a cathartic relief for faux twin sisters Holly Lasseig and Jess Wolfe. The personality-charged frontwomen of New York quintet Lucius dictate the array of mental states they encountered during the hectic touring of their debut album Wildewoman. The appropriately titled second album Good Grief is an oxymoron that denotes the overwhelming anguish of life’s unexpected demands but also hugs the little blessings within the darkness – like the intelligently composed album cover. It moves further away from the folk leanings of their first effort but everything is still presented with an enthusiastic charm, just now with a eclectic fusion of powerful 1990’s gospel force (a concept made stronger by the lyric from ‘Almighty Gosh‘, “how can we forget almighty?“) occasionally ignited with a ballad structure and edgy movement provoking r&b. Best described as the confidence of Haim, the outpouring of Florence meeting the high-reaching modern orchestral ambitions of Denai Moore and Emeli Sande.
On one edge of the scale is the grief. ‘Gone Insane’ is the most extreme example of the consequence of being both in close proximity with the same people for a long duration and an abstinence of recess – a lengthy promotional schedule. A defensive time-bomb. The protagonist describes the deterioration of senses: “stomach turning its head“, “heart’s so heavy” and “vision’s cloudy“, as clock-ticking sounds lead to Wolfe and Lasseig erupting over the microphone. A track that’s likely to be sung by Lucius’ crowd during a thirst-fulfilling break at their future concerts. ‘Madness’ also seemingly portrays a suffocated character but one overwhelmed by the stress of urgency: “my heartbeat didn’t get a moment/time’s after us, we’re after time“. ‘Almost Wished For Rain’ is apprehensiveness personified. Expecting the black clouds, even if everything is presently sunny.
The glassy ‘Truce’, the psychedelic influenced ‘What We Have To (Change)’ and ‘Better Look Back’ are in the middle of the happiness scale. Regretful but uplifting and productive. Climbing towers, asking questions and burying hatchets. However, like the flamboyant and symmetrical dress codes that Lucius adhere to, it’s the extravagant tracks that are the most enjoyable and infectious. A more optimistic kind of burst of emotions. The adrenaline running through Lasseig and Wolfe’s spirits makes them reminisce about being sixteen on ‘Born Again Teen’. The cute summer infatuation presented in the lyrics are not dissimilar from Chairlift‘s ‘Bruises’ but with more emphasis on dance moves as the aphrodisiac. Those familiar with Lucius’ music videos will be aware of their humour and after playing the role of adolescent misery guts, there’s also self mockery in the duo’s order: “Could someone help me please? I could just die, die“.
Based on the musical, lyrical and production strength of their first two albums, tireless Lucius are a band worth hyperventilating about.
