Wednesday 30 Jul
 
 

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday

Opolis

113 N. Crawford Ave., Norman

opolis.org

447-3417

$7

07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.

bluedoorokc.com

524-0738

$15

07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Friday-Saturday
Downtown Tulsa 
centeroftheuniversefestival.com 
$35-$50 

07/22/2014 | Comments 0
Home · Articles · Reviews · Indie · Son Lux — We Are Rising
Indie
 

Son Lux — We Are Rising


An ornate, ecstatic set of indie compositions

Stephen Carradini June 24th, 2011

It is difficult to categorize the music of Son Lux.

sonlux

Ryan Lott, who is Son Lux, is most often referred to as an electronic musician, but “We Are Rising” is more orchestral than almost any Sufjan Stevens’ work (especially “The Age of Adz”). There are electronic elements here, but to lump this in the same general category with techno is not only selling it to the wrong people, it’s cheapening the quality of composition.

The songs, after all, adopt classical conventions in instrumentation and convention, except for the fact that Lott sings in a very calm, controlled tenor). These are not pieces to be slapped on a playlist next to “Murder in the City” by the Avett Brothers, and the ornate arrangements of tunes like “Let Go” and “Rising” make it very clear that a Son Lux gig would be better suited to a concert hall than a club. The songs do not fit modern pop structures or presentation.

The whole album comes off as friendly instead of complex or prickly (the creepy “Claws” is an exception). There’s a deeply human element to these pieces; the intimate, incredibly crisp recording style leaves no barrier between the intentions of Lott and the listener. The use of strings, flutes and choirs throughout enhances the humanity of the pieces. Although underlying beats click in “Leave the Riches” and “Chase,” it’s never the sort of abrasive electronics that sever the connection. Just try to determine which elements of percussion are real or “electronic” in “Chase.”

It is not surprising that DM Stith, a frequent Stevens collaborator, was enlisted to help Lott write and record “We Are Rising” (which was completed, as part of a NPR challenge to him, in 28 days). Ecstatic experimentation that never leaves the realm of the recognizable and relatable has few champions, so it makes sense that Son Lux would pull from the pool that his main RIYL often utilizes for the disc. —Stephen Carradini
 
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