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Lecx Stacy is a psychological, philosophical, and romantic artist whose work blurs memory, identity, and sound into something deeply personal. A first-generation Filipino American originally from San Diego and now based in Los Angeles, Stacy grew up immersed in music through karaoke-filled weekends, piano lessons, and early beat-making sessions taught by his older brother. After his brother’s passing, the equipment he left behind became a lifeline. By his early teens, Stacy was selling beats online, and by 18 he had begun shaping a singular voice, using production as a way to process grief, longing, and belief.
“With You, I’d Be Closer to God,” was written after touring with Sega Bodega and Eartheater. While the lyrics open up about Lecx’s newborn catholic devotion, the production embodies a newfound love for electronic dance music melded with emo sensibilities. The song opens with guitar-led intimacy, where finger-picked strings and subtle slides feel exposed and tactile, before unraveling into something far stranger. Electronic textures, glitching elements, and a fast, repetitive beat collide with emo melodies and dramatic lyricism, creating a soundscape that feels volatile and cathartic all at once. Stacy describes it as equal parts Hawthorne Heights and Crystal Castles, with emotion and electronic chaos locked in constant tension.
While his previous single, “Winter, A Wilted Flower,” leaned into stillness and impermanence, “With You, I’d Be Closer to God” pushes forward with urgency and intensity. It signals a new chapter in Stacy’s work, one that embraces distortion, repetition, and pressure as tools for emotional release. Across both releases, his music remains rooted in vulnerability and belief, tracing the fragile space where love, faith, and desire intersect, and proving that Lecx Stacy’s evolution is driven by instinct rather than expectation.
The album as a whole channels isolation and the weight of lived experience, refracting Stacy’s personal history into communal myth. Inspired by his father’s stories of “folkhouses” in the Philippines, bars where men sang American folk songs like John Denver after long nights of drinking, Stacy draws a line between that world and his own upbringing in Ramona, California. The result is a body of work suspended between landscapes, generations, and identities, Americana tinged with spectral echoes of Filipino ritual, rendered through his signature blend of emo-folk, folktronica, noise, and ambient textures.
On stage, Stacy has toured with artists like Eartheater, Jean Dawson, and Sega Bodega. His live performances, tense, devotional, and unflinching, mirror the way his music treats memory as distortion, fleeting moments carried forward, reimagined, and ritualized.
Lecx Stacy’s work is not just music but philosophy in motion, a study in longing, transcendence, and the fragile boundaries between love, faith, and desire.
