A musician's sound can be
imagined in the motion and movement of dance, so Son Lux presents
with their latest music project. I had a chance to chat a bit with
Ryan Lott of Son Lux about their latest album, Bones, and the
directive pulse in which Ryan creates. Not wanting to classify his
style, or the band for that matter, I couldn't help but hear
influences of David Bowie's own style. An immediate style attraction
on multiple levels brings this new work to modern rock music.
With the hint of a secret
recording project in the new year to come, and touring with special
orchestra and ensemble mixes, 2016 is ready for Son Lux performances.
By: Song River
(Vents Magazine)
I FEEL IT
Song
River: Sound. Do you see it, feel it, taste it?
Ryan
Lott: I feel it.
SR:
A mathematical precision of pattern moves in your music. While I was
transfixed on your music, it seems to be set for dancers.
RL:
My wife is a dancer and choreographer. She gave me my first
opportunities to write music for dance, which became a central
activity while I was developing the Son Lux project. It remains a big
part of my output, so it makes sense that you hear an intrinsic,
movement-friendly quality to it.
SR:
Does a composer create differently for dance music, as opposed to an
ear-bud iPod kid standing on the corner waiting for the next bus?
RL:
Everyone is unique. For me, writing for dance is different in that my
decisions are guided by the collaboration, and not by my own whims
exclusively.
SR:
Electronica Pop-Hop resonates within the album, Bones, but it has a
deeper intellect than just run of the mill. Creatively speaking,
where does your creativity fit?
RL:
Not sure I can answer that question. The intent of the art is
not to hit a particular target in a spectrum of genres.
SR: Bones has a structure that seems to step out of your
usual skin. First, you've gone with Glassnote Records. How
has that been?
RL:
Our relationship with Glassnote, our new label, didn't factor into
the sound of the record. The same is true of my previous records and
the labels that I partnered with to release them. One thing that is
true of all of them is the belief that the artist's intention is
paramount, and while there were healthy challenges to it , there were
no efforts to subvert it. This is extremely important for me. A label
is a powerful and important partner, but its role should remain
extra-musical.
SR:
Next, the album seems to take the natural flow of sounds, and spikes
them with your electronic decor. Do you find yourself open
to always experimenting with sounds?
RL:
Experimentation with new sounds, both organic and electronic, is an
obsession. It's the starting point for almost all Son Lux material.
SMALL THINGS... BIG RESULTS
SR:
Where does this attraction come from using electronics to enhance,
alter, prick and pull sound?
RL:
After college, when I began making music with a computer, I was poor,
and I had almost no access to other professional musicians. Because
of these limitations, I developed habit of deeply exploring the
potential of every sound I could get my hands on. I learned, because
I had to, I could do a lot more with a small amount of material than
I had thought. Now that I have a lot more resources in things and in
people, I have to remind myself to be patient in my process, and to
keep mining small things for big results.
SR:
Also with your album, Bones, you've pulled together a trio to
tour. What has that been like, touring and the triangular
points creating your music?
RL:
I created the band to tour the previous record, Lanterns.
On the road, we discovered a great chemistry and want to write new
material together. So it was natural for the trio's role to grow to
encompass the album work, as well. Bones is our first record as a
trio.
SR:
In your creativity of sound, patterns, and presentation I found a
kinship in your sound to David Bowie. What have been some
of your influences along the way?
RL:
A few people have drawn that comparison, as well. But Bowie was never
an influence for me, actually. However, I did love the movie
Labyrinth when I was a kid.
SR:
You're not afraid to strip the moments bare, dissolve them, and
recreate a practical structure of musical sound. Not only sound, but
a dynamic imagery to compliment what you've produced. Is what you do
musically a deliberately manufactured rite of passage? Does anything
ever come by its own natural flow?
RL:
Well, it's true that I, and now we, develop material slowly, always
forming and reforming it to find unexpected and unique ways to
present it. There's a maturing process that can happen to an idea
when patience is part of the equation, so we aim for that. However,
not everything is laboriously conjured. Some ideas emerge almost
fully formed, or start with a degree of momentum that allow them to
grow quickly.
SR:
Do you feel your style of creativity keeps open many windows into the
multiple facets your work has taken you? IE. Commercials,
Choreography, etc...
RL:
Yes. The sound of the music is a big part of that, in that it's often
cinematic and feels good to move to. But also, I've actively sought
collaboration across disciplines along the way.
SR: What
does 2016 hold? Where and when can we find Son Lux on tour? Extended
plans?
RL:
We will continue touring in 2016, and we have some very special
performances in the works, including appearances with an orchestra
and other extended ensembles. We're also working on a secret
recording project in January and February that we're very excited
about.
SON LUX
LINKS:
Web: Son
Lux
Social Media
Lost It To Trying
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