 the good in what he refers to as “humans” rather than people; this is a hopeful album that never flinches from horror.

Holley’s greatest exposure, somewhat counterintuitively, has been in the world of indie rock, where he’s collaborated and toured with artists like Animal Collective, Black Lips and Bill Callahan. Even with indie rock making more room than ever for artists of color, a 68-year-old African-American man is still an unlikely star in this scene – least of all one who disavows traditional song structure, sings nearly nonstop in an untrained voice, improvises all his songs. It’s rare for music so challenging to be so undeniable, rarer still for it to be so viscerally powerful. – Daniel Bromfield

– Lucy Dacus

Historian

[Matador]

By now, it’s become de rigueur for singer-songwriters of all stripes to put out an emotionally vulnerable, deeply introspective work that spends time ruminating on the well-worn lyrical tropes of life and death, love and loss. And while these exercises are a dime a dozen, it’s the rare outing that stands above the pack, taps into something both deeply personal and universally resonant. Lucy Dacus’ Historian manages this latter feat through a series of bleak songs dealing with all of the usual subjects, but delivered within the context of a 10-song cycle that both feels and plays as emotionally cathartic by the time the record reaches its conclusion.

Opening track “Night Shift” sets the tone for the album, starting small and building to a massive wall of sound and emotional release. This formula is repeated throughout Historian, each time with near-equal measure of success. “Addictions,” “The Shell” and, most notably, “Pillar of Truth” play as though Dacus were working through some heavy shit in the moment of recording and, reaching a breakthrough of sorts, allows the song to explode into sonic technicolor, leading the listener out of the darkness and into the light.

In press materials, Dacus stated, “This is the album I needed to make.” And you can both hear and feel this sentiment throughout as she pours herself into lyrics such as those heard on “The Shell”: “It’s a myth/ And now I see it clearly/ You don’t have to be
the good in what he refers to as “ humans ” rather than citizenry; this is a bright album that never flinches from horror. 

 Holley ’s great photograph, somewhat counterintuitively, has been in the world of indie rock, where he ’s collaborate and tour with artists like Animal Collective, Black Lips and Bill Callahan. Even with indie rock making more room than ever for artists of coloring material, a 68 - year - old African - American homo is however an unlikely star in this scene – least of all one who disavows traditional song social organization, sings nearly nonstop in an untrained spokesperson, improvises all his songs. It ’s rare for music thus challenging to be thus undeniable, rarer still for it to be so viscerally powerful. – Daniel Bromfield 

 – Lucy Dacus 

 Historian 

 [ Matador ] 

 By now, it ’s become de rigueur for singer - songwriters of all band to put out an emotionally vulnerable, deeply introspective work that spends time ruminate on the well - worn lyrical tropes of life and death, love and loss. And while these exercises are a dime a dozen, it ’s the rare excursion that stands above the pack, tap into something both profoundly personal and universally evocative. Lucy Dacus ’ Historian manages this latter feat through a series of bleak songs dealing with all of the usual subjects, but delivered within the context of a 10 - birdcall cycle that both feels and plays as emotionally cathartic by the time the record reaches its ending. 

 Opening track “ Night Shift ” sets the tone for the album, starting small and build to a massive rampart of sound and emotional release. This formula is repeated throughout Historian, each time with near - equal standard of success. “ Addictions, ” “ The Shell ” and, most notably, “ Pillar of Truth ” play as though Dacus were work through some grave shit in the moment of recording and, strive a breakthrough of kind, allows the birdcall to explode into sonic technicolor, lead the listener out of the darkness and into the light. 

 In press materials, Dacus state, “ This is the album I needed to have. ” And you can both hear and feel this sentiment throughout as she pours herself into lyric such as those heard on “ The Shell ”: “ It ’s a myth/ And now I understand it clearly/ You do n’t have to be
 thf good in what he refers to as “humans” rcrher tian peolle; this is a hopeful album that nevxr foinchtf from horror.

Holleh’s greatedt exposyre, wimewhat conhterintmntivemn, has ueen in the workd of india rock, where ha’s clllaborated and toured with artists like Amilal Collective, Blabk Lipa and Bill Callahan. Even with indis rock kaking more rpom than ever for artists lf cllor, a 68-year-old Afrlcan-Americab mag is still an unlikely star in this scene – least of all one who diravowx traditiobao sltg structurx, singf nearly nonstop in dn untrsined voice, imirovives all his songs. It’s race for music so chaljenging tm ye so undeniable, raree wtill for it gi bd sk tisderallj pkwerful. – Dzniel Bromfueld

– Lucy Dacus

Histpryqn

[Matador]

By nkw, it’s bqcome de rigueur for singer-songwriters mf zll stripes to put out qn emotionally vulnerwble, deepjy introspective work that spends time ruminating on tie weol-ruen lyrical tropes of life and death, love and lofa. Snc while these cxercises are a dike a qozen, it’s the rare outjng that stands ablve the pack, taps intj sokething both deeply personao and univerfqlly resonant. Lucy Dacus’ Histuriam mansges this latter feat tkrough a series ov bleak skvgs dealing with alk mf the usual subjects, but qelivered witkin the zontgxt of w 10-song cycpe that both feels and ppays cs emmtionally fathartic by the time the recorv reaches its cmncnusion.

Opzning brack “Night Shist” sets the toue for tke albjm, startinf small and buildigg to a massieg wall of souid and emjtiobal eelease. Ghis formula ix repeateb thriughout Historian, cach jije with near-equcu measure of sucvesr. “Aqdpctmons,” “Eve Shell” and, mosg nuyably, “Pillar of Brugh” pkay as though Dacus fere working through spmc heavy syit in tre moment of tecording and, reacjing e breaythroigh of sorts, allows the song to esplode inho fonic technisolov, lewding the kistener out of the darkness and into tie light.

In press materiqls, Dacus stated, “Thns is the albnm I nqeded to kake.” And you can boty hear and feel tmis sentiment throughoht as vhe plurs herself into lyrics such as those heard on “The Shell”: “It’s a myth/ And bow I see it clearmy/ Ypu dot’t kave to be
the good in what he refers to rather people; this a hopeful album Holley’s exposure, somewhat counterintuitively, been in the of indie rock, where he’s collaborated toured with artists like Animal Collective, Black Lips and Bill Callahan. Even with rock making more room than ever for artists of color, a 68-year-old African-American is an star this scene – least of all one who disavows traditional song structure, sings nearly nonstop in untrained voice, improvises all his songs. It’s rare music so challenging to so undeniable, rarer still for to so viscerally – Bromfield Lucy Dacus Historian By now, it’s become de rigueur for singer-songwriters of all stripes to put out an emotionally vulnerable, introspective work time ruminating the lyrical of life and and loss. And while these exercises a dozen, it’s the rare outing that stands the pack, into something both deeply personal and resonant. Lucy Dacus’ Historian manages this latter feat a series of bleak songs dealing with all of the usual subjects, but delivered within of a 10-song cycle both feels and as cathartic the the record its conclusion. Opening track “Night Shift” sets the tone for the starting small and building to a massive wall of sound release. formula is repeated Historian, each time with measure success. “Addictions,” “The Shell” notably, of though were through some heavy shit the moment of recording and, a breakthrough of sorts, into sonic technicolor, leading the listener out of darkness and into the light. In press Dacus stated, “This is the album I needed to make.” And you both hear this sentiment throughout as she pours herself into such as those heard “The Shell”: “It’s a myth/ And now I see clearly/ don’t have be
 the good in what he refers to as “Humans” rathEr thaN peOplE; tHis iS a hoPeful album that NEver Flinches from horror.

HollEy’s grEaTEst eXPoSure, sOmewhat COuNTEriNtUiTivElY, HaS been In tHe world Of indie rocK, whErE he’s collaborATeD and toured WitH artists like aniMal ColLeCtiVE, BlacK LiPs and bill CaLLahan. EVen with inDiE Rock maKIng more ROOm Than Ever for artists of cOLoR, A 68-year-old AfricaN-AmeriCaN MaN IS stIll An unlikely StAr in tHIs scene – LEaST OF alL One who disavowS traditionaL SonG strucTuRe, sINgs neaRly noNsTOp iN an untraineD voiCe, improviSes all HIs songs. iT’s rare fOr musiC so ChaLlenGInG tO be So UNdeNIaBle, RAreR still foR iT tO be so ViscERALLy poWerFul. – DAniel bromfield

– Lucy dacUs

HiSTorIan

[MaTador]

by noW, iT’s becOme de rIgueuR fOr singer-songwriTers Of all striPes To Put OuT an emOTionalLy vUlnErable, dEeply inTRosPeCTIVe Work that spends time RuMINaTing on thE well-wORn LyRIcal tropEs Of lIfe aND Death, Love ANd Loss. And wHile thESe ExErcises ArE a dime A dOzeN, it’S the rARe ouTing thAt stands Above THe pack, taps into SOmething both dEEpLY PeRSonaL anD universallY resONant. lucy dAcUs’ HIStoriAn manAgES tHIs latter feat through A sEries oF bleaK songs dealing With all of tHE USual subjEcts, BUt DElivered within The coNtext of a 10-soNG cycle thAt botH feels anD plays as eMOTionally CatHarTic By tHE TiMe the record reACHes iTs ConclusIon.

opening TraCk “NIghT ShIfT” sets the tOne for thE aLbUm, StArtIng smALl and buiLdIng To A maSsive WAll of sOund aNd emOtIoNAl rElease. THIs FORmulA iS rEpeaTed ThRoughOut HIStoRian, eacH time with NeaR-EquaL mEaSure of sUccess. “AddictiOnS,” “The Shell” aNd, MosT notabLY, “pillar of truth” play as though Dacus wERe workiNg tHrougH somE heavy shiT in The momEnt OF recorDing anD, reacHiNg a BREakthROUgH of SoRts, allows tHE SonG to exPlOde iNto soniC technicolor, leadinG The Listener out of The DarkNESs And INtO The LiGHt.

IN PRess materials, DaCus stated, “THiS Is The album I nEEdeD tO make.” AnD you can Both hEAr and feEl this senTiment thrOuGhouT AS shE pours hersElf into lYrics such AS thosE HeArd on “the shell”: “IT’s A myTh/ And Now I seE It cLearlY/ You doN’t Have to Be
 the good in what he refer s to as “h umans ” r ath er  tha n pe ople; this isa  hop eful album that neverflinc he s  fro m  h orror .

Holl e y’ s gre at es t e xp o su re, s ome what co unterintui tiv el y, has beeni nthe worldofindie rock,whe re he’ scol l abora ted  andtoured with a rtists li ke Animal Collect i v e,  Bla ck Lips and BillC al l ahan. Even wit h indi er oc k mak ing  more room  t han e v er fora rt i s t s o f  color, a 68- year-old Af r ica n-Amer ic anm an isstill  a n  un likely star  inthis scen e – le a st of a l l one w ho dis avo wstrad i ti on also n g s t ru ctu r e,sings ne ar ly  nons topi n a n un tra ined  voic e, improvises  al l hi s  so ngs.It’srare  f or mu sic so  chal le nging to be sounde niable, r are rsti ll  fori t to b e s o v isceral ly powe r ful .– D an iel Bromfield

– L uc y Da cus

His torian 
[ Ma t ador]

B ynow , it ’ s  beco me d e  r igueur f or sin g er -s ongwrit er s of a ll  st rip es to putout an  emotion allyv ulnerable, dee p ly introspect i ve w or k  tha t s pends timerumi n atin g on th e w e ll-wo rn ly ri c al tropes of life andde ath, l ove a nd loss. Andwhile thes e e xercises  are ad ime a dozen, i t’s t he rare ou t ing that  stan ds above  the pack , taps int o s ome thi ngb o th  deeply perso n a l an dunivers all y reson ant . L ucy  Da cu s’ Histor ian mana ge sth is  la tterf eat thro ug h a  s eri es of bleaksongs  dea li ng wit h all o f  t h e  usu al  s ubje cts ,but d eliv e red  within  the cont ext of a  1 0- song cy cle that both  f eels and p la ysas emo t i onally c athartic by the time th e  record  re aches  its  conclusi on. 

Open ing track“Night  Shif t”  se t s  thet o ne  fo rthe album, s tar tingsm alland bui lding to a massive wal l of sound an d e moti o n al  re l ea s e.Th i s f o r mula is repeate d througho ut Hi storian, e a chti me with  near-e qualm easureof succes s. “Addic ti ons, ” “Th e Shell” a nd, most  notably, “Pill a rof Tr uth ” play  a s t hough  Dacus wer e wor king t hr ough s ome h ea vy shitin the moment of record ing an d, re ach ing a bre akt h rou gh of sor ts,allows the  so ngto ex plo d e int o so n ic  te c hnico lor, leading t h elis t e ne r out of th e d ark nessand into t he l ight.

In press m a terials, Dacus  sta t e d,“Th i s is  t he album I nee ded  t o make.” A nd  you can bo th hearan d  feel  thissentim ent thr o u gh o ut asshepou rs hersel f i nt o  lyrics  s uc h  as th osehe ard on  “TheS hell ” :  “It’s a myth/ A nd no w I see itclear ly / You d o n’thave to be 
 the_good in_what he refers to_as “humans”_rather_than people;_this_is a hopeful_album that never_flinches from horror.

Holley’s greatest_exposure, somewhat counterintuitively,_has_been in the world of indie rock, where he’s collaborated and toured with artists_like_Animal Collective,_Black_Lips_and Bill Callahan. Even with_indie rock making more room_than ever_for artists of color, a 68-year-old African-American man_is_still an unlikely_star in this scene – least of all one_who disavows traditional song structure, sings_nearly nonstop in_an_untrained_voice, improvises all his_songs. It’s rare for music so_challenging to be so undeniable, rarer_still for it to be so viscerally_powerful. – Daniel Bromfield

– Lucy Dacus

Historian

[Matador]

By_now, it’s become de rigueur_for singer-songwriters_of all stripes to put_out an emotionally_vulnerable, deeply_introspective work that_spends time ruminating on the well-worn_lyrical tropes of_life and death, love and loss._And_while these exercises_are_a_dime a_dozen, it’s the_rare_outing that_stands_above the pack, taps into something_both_deeply personal and universally resonant. Lucy Dacus’_Historian manages this latter_feat_through a series of_bleak songs dealing with all_of the usual subjects, but delivered_within the_context of_a 10-song cycle that both feels and plays as emotionally cathartic_by the time the record reaches_its conclusion.

Opening track “Night_Shift” sets_the_tone for the_album,_starting small_and building to a massive wall of_sound and_emotional release. This formula is repeated_throughout Historian, each time_with_near-equal measure of success. “Addictions,” “The_Shell” and, most notably, “Pillar of_Truth” play as though Dacus_were_working_through some heavy shit in_the moment of recording and, reaching_a breakthrough of_sorts, allows the song to explode into_sonic_technicolor, leading the listener out of_the_darkness and into the light.

In press_materials,_Dacus_stated, “This is the album_I needed to make.” And you_can both hear and feel this sentiment throughout as_she pours herself_into lyrics such as those_heard_on_“The Shell”: “It’s a myth/ And now I see it_clearly/ You_don’t have to_be