In an age flooded with mechanically altered sounds and artificially elaborate vocals, we are every so often summoned by wisps of raw vibrato and operatic backups in the shadows of noise. Son Lux, the NYC indie chamber-pop group, slipped their album We Are Rising (Anticon Records) into the public late last Spring, and with it came their late single Flickers. Nearly oxymoronic, sharp contrasts between classical music compositions and synthesized audio experimentation pour over a naked layer of choral intonations.
The song has the depth of a full feature film, with Beatles undertones in the intro followed by shades of a Thomas Newman track and fastened with a trained wail at the verse which curves into what feels like front row at a philharmonic starring Cecilia Bartoli. That is why certain songs never grow old. And when any song echoes tradition, history, or the legends of sound in a purely original unmarked fashion, they prevail. The trend of intricate sounds and detailed audio construction carries on throughout the album. Ryan Lott, the classically trained musician behind the sampling and sound collages, has worked closely on the album and continuously on music experiments with a lineup of artists including Judson Crane, McKenzie Smith, John McCaig, Darren King, DM Stith, Jace Everett, Shara Worden, and Peter Silberman. Living and working among New York’s most saturated music communities, we have high expectations for Signor Lott, with a highly anticipated upcoming release.