Lucy Dacus\u2019 latest album feels like a natural continuation of her work with boygenius \u2014 for better and for worse. It’s a stroll through familiar territory, sonically leaning heavily into the introspective, reverb-laced indie rock that\u2019s become synonymous with the supergroup she is part of, but in doing so, it loses a bit of what once set Lucy Dacus apart. <\/p>\n\n\n\n
<\/p>\n\n\n\n
There\u2019s no denying the craftsmanship here \u2014 the songs are well-constructed, the lyrics come off thoughtful, and Dacus\u2019 voice remains as warm and expressive as ever. But the album really plays it safe, floating in the same emotional register without the dynamic arcs or gut-punch moments that defined albums like No Burden<\/em> and Historian<\/em>. I don’t know, I felt a bit bored listening to “Big Deal” and “Ankles,” compared to something like “Night Shift” or “I Don\u2019t Wanna Be Funny Anymore.” Even the song “Bullseye” with Hozier, didn’t really hold my attention. <\/p>\n\n\n\n <\/p>\n\n\n\n Those earlier records felt personal yet raw, balancing restraint with catharsis. Much of this album sounds like it could\u2019ve been lifted straight from the cutting room floor of a boygenius session. And I know I’m in the minority here, but nothing boygenius has done holds a candle to Historian<\/em>. <\/p>\n\n\n\n <\/p>\n\n\n\n On Forever is A Feeling <\/em>the atmospheric guitars, hushed vocals, and ruminative lyrics are all there, but they rarely rise above the haze. This one feels more muted. The edges are smoothed out, and the production leans into an almost ambient softness that, while pleasant, doesn\u2019t linger. Songs blur into each other, and while nothing is outright bad, few tracks demand a replay.<\/p>\n\n\n\n <\/p>\n\n\n\n For longtime fans hoping for the emotional weight and scrappy immediacy of “Night Shift” this album might feel like a quiet echo of what came before. Maybe that’s fine. I’m old and bitter I guess. <\/p>\n\n\n\n <\/p>\n\n\n\n