Listening to Son Lux is like entering the mind of sonic visionary, that is, a mind that takes you to a dimension of its own. In this dimension, the mind feels as we do … bears its emotions, and begs for freedom both in lyric and sound. Each time we are sucked in by empathy, we are stunned by a crash of chaos, a squeal of an electric guitar, and other sounds less recognizable to the human ear. The creativity in his artistry allows the music to live outside the box, while encouraging us to groove along to the music at the same time.
Before his most recent full length LP, Bones, the project consisted solely of producer Ryan Lott. In touring his album, Lanterns, Lott brought along drummer Ian Chang and guitarist Rafiq Bhatia, whom both would eventually become a permanent part of the project. He was now able to record real instruments, along with the electronica and hip-hop influenced production he had mastered on his three previous full length albums. With this, the songwriting shifted into something more chorus-heavy and at times more accessible. However, Lott did not lose his iconic and powerful post-rock sound, instead, it has proven his genius in production and musical arrangement.
The band’s founder is truly a choreographer of sound, manipulating computers and instruments in semiotic harmony. Lott’s voice is at times delicate, but also powerful, showing that his range is untameable. In the song “Flight”, he asks the question, “Are we now what we’ll be?/Are we fixed or free?”. Bringing the keyboard to the forefront of the chorus, the New York City native unravels his vulnerability in an existentialist’s plea.