{"id":51147,"date":"2015-06-10T09:55:13","date_gmt":"2015-06-10T09:55:13","guid":{"rendered":"http:\/\/www.wonderlandmagazine.com\/?p=51147"},"modified":"2015-06-10T11:55:17","modified_gmt":"2015-06-10T11:55:17","slug":"ryan-lott-of-son-lux-talks-scoring-for-paper-towns","status":"publish","type":"post","link":"https:\/\/www.wonderlandmagazine.com\/2015\/06\/10\/ryan-lott-of-son-lux-talks-scoring-for-paper-towns\/","title":{"rendered":"Ryan Lott of Son Lux talks scoring for Paper Towns"},"content":{"rendered":"<p>Over burgers and fries, <i>Wonderland<\/i> chats to the man behind Son Lux and the score producer of the upcoming teen flick, <em>Paper Towns <\/em>and his new record &#8220;Bones&#8221;.<\/p>\n<p><!--more--><\/p>\n<p><a href=\"\/\/media.wonderlandmagazine.com\/uploads\/2015\/06\/Screen-Shot-2015-06-09-at-10.56.28.jpg\"><img fetchpriority=\"high\" decoding=\"async\" class=\"aligncenter size-full wp-image-51154\" alt=\"Screen Shot 2015-06-09 at 10.56.28\" src=\"\/\/media.wonderlandmagazine.com\/uploads\/2015\/06\/Screen-Shot-2015-06-09-at-10.56.28.jpg\" \/><\/a><\/p>\n<p >Upon meeting Ryan Lott \u2013 the name responsible for post-rock, hip-hop outfit Son Lux \u2013 his talent and musical know-how comes to the fore in its full entirety. Son Lux has taken off since being described as &#8220;Best New Artist&#8221; of 2008; since releasing two EPs, two LPs and collaborating with some serious music industry talent. With a re-imagined EP on the list featuring Lorde and other creative collisions that include Peter Silberman of The Antlers, Richard Parry of Arcade Fire<em>, <\/em>fellow Sisyphus band member Sufjan Stevens and infamous Beyonc\u00e9 producer Boots, Ryan highlights that he isn&#8217;t just about one project but a kaleidoscope musical ventures. Not only making waves as a musical artist, Ryan is also just as well known for composing the soundtracks to\u00a0<em>Looper<\/em>\u00a0(2012),\u00a0<em>Don Jon<\/em>\u00a0(2013),\u00a0<em>The Disappearance of Eleanor Rigby<\/em>\u00a0(2014) and most recently, the upcoming teen comedy\u00a0<em>Paper Towns\u00a0<\/em>featuring model-actress crossover Cara Delevingne.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/rFGiHm5WMLk\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><\/p>\n<p >Based in New York, Ryan manages to catch up with\u00a0<em>Wonderland <\/em>during his\u00a0London visit \u2013 just one of the many international stops he will have to make this year. In between playfully showing off his new gleaming white converse &#8220;kicks&#8221; to giggling over the love for his new found British slang word &#8220;chunder&#8221;, we dig deep with the talented musician on all things from song lyrics to recording a hit single with Bronchitis.<\/p>\n<p ><b>So your real name is Ryan Lott, what\u2019s the story behind your stage name Son Lux?<\/b><\/p>\n<p >Initially it came from the desire to create a separate identity for myself for a particular project, so that if at any moment I wanted to abandon the project or create something else that was rather contradictory, I wasn\u2019t going to throw anyone through a loop. You know, I knew about myself that I\u2019m rather omnivorous as far as my musical tastes and urges and I wasn\u2019t quite sure yet what this new idea I was conjuring was going to be. It hadn\u2019t articulated itself. I just thought it wise to come up with a new name for <i>it<\/i>, rather than give my name to it. It also creates a certain liberty as well; I didn\u2019t anticipate that. I like the idea of a two-word name, because it\u2019s like a person\u2019s name: first name and last name. I also like the combination of words that were inherently pretty contrasting, and the word &#8220;lux&#8221; from the latin &#8220;light&#8221; is from a dead language that is routing in something ancient and yet lingers with us. And then &#8220;son&#8221;, it means different things to different people, depending on where you are in the world. It appears in different languages. It has a universal open sound, so I like that contrast and ultimately contrast is about everything at the heart of Son Lux.<b>\u00a0<\/b><\/p>\n<p ><b>At what point was it that you realised you wanted to become a full-time musician?<\/b><\/p>\n<p >I think I was probably&#8230; I mean it was a slow discovery, initial urges were young. Very young. I was just a kid. I think I rationally made the decision, maybe in my freshman or sophomore year in high school. But I think I knew before that, kind of deep down. So yeah, there\u2019s no turning back. I started taking piano lessons when I was five or six, it was the family rule. It wasn\u2019t because my family is musical or anything like that, it was a matter of discipline. Through middle school we had to do piano lessons and I\u2019m really glad, because I know ultimately I would have found music but I wouldn\u2019t have had the head start that I did.<\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/207243157&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true\" width=\"100%\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<p ><b>What did you listen to growing up?<\/b><\/p>\n<p >Because music wasn\u2019t an important part of my family, I wouldn\u2019t listen to anything apart from the radio. Whatever that was happening around me, anything I absorbed. And then I played in a band \u2013 it&#8217;s funny \u2013 I was always in bands that wanted to write their own music. I\u2019m actually just kind of realising that. We would steal little bits of other people\u2019s music though, it was kind of democratic. Then in middle school I played grunge because I\u2019m old, so I was playing Nirvana in 1991 when it was super fashionable. I think that Nirvana was super weird because it was like the thing that the misfit kids and the cheerleaders all agreed on. Isn\u2019t that amazing? You can\u2019t even imagine that right now. There really isn\u2019t a modern day equivalent, and that\u2019s kind of because rock is extinct. Hip Hop has taken it\u2019s place, but Hip Hop is ubiquitous in the same way that Nirvana was \u2013 it\u2019s hard to explain. I was sentient enough a human being to really recognise it, I didn\u2019t understand context back then so I didn\u2019t realise the significance of it. That whole grunge era\u2026 and fucking Red Hot Chilli Peppers? <i>Blood Sugar Sex Magik<\/i> dropped, it was just a great year for music. You think about a band now that\u2019s really big, in ten years they\u2019re not going to really big. And if they are, it\u2019s going to be kind of ironic but Nirvana never became ironic. Everyone just kept liking them. They disappeared but whenever you heard it, it was always good. It was never like \u201coh do you remember this song\u201d. Even still, when that shit comes on the radio, it sounds incredible. There was an era in the nineties when music from the fidelity standpoint, music was doing something really special and it was before the whole Lo-fi reactionary stuff, which has its own charms, I\u2019m not hating it, but there was a golden era in the nineties that was really special.<b>\u00a0<\/b><\/p>\n<p ><b>You\u2019ve spent quite a bit of your career composing music for commercials, and you\u2019ve recently put together the score for the<em> Paper Towns<\/em> movie starring Cara Delevingne. How do you go about composing music for the screen?<\/b><\/p>\n<p >Something a lot of people don\u2019t understand about film scoring is that you actually do have the whole film to work with \u2013 you see the whole film. It\u2019s really important because you have to develop music that is going to be portable and able to adapt to various scenes in a film in order to create a consistent theme or a consistent vibe, or an inconsistent one depending on what the film requires. Someone telling you about a movie and someone showing you a movie is a totally different experience. So you see an early-finished cut, and there\u2019s a lot of crappy stuff about it and it\u2019s kind of half done. So if they\u2019re driving a car there will just be a green screen; there\u2019s technical or temporary things that are rough about the film. What a lot of people don\u2019t realise about films is that nearly all of the voices are re-recorded. So Cara goes into a studio and she sees a big screen of herself acting and she lip-syncs to herself \u2013 or she does the opposite of lip-sync \u2013 she replaces her voice. It\u2019s difficult. It\u2019s one of the skills of screen actor. We have the film to watch and then we cultivate the themes around the different characters, we determine the palette. <em>Paper Towns<\/em> was fun because I got to do traditional score stuff, but I also got to do song score stuff and instrumentals on the record.<\/p>\n<p ><b>You\u2019ve just recently revealed your second song \u2018You Don\u2019t Know Me\u2019 from your new album, what\u2019s the inspiration behind the lyrics?<\/b><\/p>\n<p >I mean, there\u2019s a lot of audible frustration in that song [laughs]. I think I like to avoid saying what a song is about because I feel like it\u2019s really important for people to bring their own meanings and associations to a song and it\u2019s almost besides the point what <i>I <\/i>think the song is because it lives outside of me. That said, it comes from a place of being perplexed and being frustrated. There\u2019s anger in that song. We wrote that song on the road last year. We\u2019re all from the United States and you know, spending most of the year away from the continent at a time when there was so much formative change happening and perplexing, frustrating and depressing news. We wrote that song and the whole album in that environment, mentally. There\u2019s a lot of bright life giving energy in the record but there\u2019s also a lot of darkness and desperation.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/OGtUDffAdy8\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><\/p>\n<p ><b>And it features Moses Sumney and Hanna Benn from Pollens. Where did you meet them? Did you seek them out or did the collaboration just happen organically?<\/b><\/p>\n<p >Uh-huh, yep I did. I was looking for interesting voices and for people who don\u2019t really fit into a category. I always try to work with instrumentalists or vocalists who are creative artists, not just performers because I\u2019m looking to conjure something from them that maybe they haven\u2019t conjured from themselves but \u00a0have the ability to do it. There\u2019s a creative conversation that happens in the process when I work with people. It\u2019s important for me that they can bring their own voice, their own intention; that they can truly be themselves. It\u2019s my job to facilitate that, but at the same time bring out something in them that they haven\u2019t had the chance to do themselves. It\u2019s responsive \u2013 I\u2019m not telling them what to do. I create prompts and guide improvisation. Do you know Hanna\u2019s stuff from Pollens? Well that group doesn\u2019t exist any more but she\u2019s endeavouring to write her own music now. She\u2019s a really remarkable singer and creative person. She doesn\u2019t really fit in to any category. I hope we can make more music together; she\u2019s really special. Same with Moses, man. Actually, we recorded him on two songs and one of them just didn\u2019t make the cut for the album but it will come out eventually. Sweet guy, a really really sweet guy.<\/p>\n<p ><b>I read you recorded &#8220;You Don\u2019t Know Me&#8221; while suffering from a nasty bout of Bronchitis, why did you decide to go ahead with the recording and not rest up?<\/b><\/p>\n<p >[Laughs] Yeah, that\u2019s right. Well, the only reason I recorded it was to create what\u2019s called a scratch vocal. A scratch vocal is a temporary vocal, just to get the idea down. It wasn\u2019t supposed to be a final version. It wasn\u2019t that I liked it so much, but I played it for the band and my manager to show them the idea and they all said &#8220;this is fantastic&#8221;; you shouldn\u2019t record it again because it has a special quality. They gave me the confidence to listen to it just imaging it wasn\u2019t me and then I said yeah, there is something special about it. It\u2019s consistent with the frustration of the lyrics. I think that\u2019s when you have to decide whether a take is good or not, is the quality of it telling the story as well as the lyric itself? What kind of intention is bolstering it? If the intention is there than it\u2019s a good take.<b>\u00a0<\/b><\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/yRyMoyRPrr8\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><\/p>\n<p ><b>It&#8217;s amazing. So h<\/b><b>ow does your other band Sisyphus differ from the kind of music you\u2019re making as Son Lux?<\/b><\/p>\n<p >You know, <em>Paper Towns<\/em> I did as Ryan Lott, because ultimately it\u2019s a stylised teen movie. It\u2019s not consistent with the band, but it\u2019s still me. So I think I have been blessed to have lot of different opportunities to write lots of different types of music and different kinds of projects for different purposes. I think I\u2019m the exact wrong person to ask what\u2019s unifying or what\u2019s different about each thing, because it\u2019s all me. Friends will see an ad and can tell that that\u2019s you. Maybe it just means I have a discernable voice but I don\u2019t think it\u2019s that. It\u2019s impossible to say.<\/p>\n<p ><b>Okay, last one. What else is on the cards for Son Lux for the remainder of 2015?<\/b><\/p>\n<p >So we\u2019re going on tour and are back here for Visions Festival. It will be our first time playing a festival with our friends The Antlers, I\u2019ve been friends with Peter for a long time.\u00a0 They\u2019re great, they\u2019re sweet guys too. This record is going to come out, and<em> Paper Towns<\/em> is going to come out. We\u2019re going to tour a lot in Europe and the UK and we\u2019re about to start a six-week North America tour and circle around the continent. We come back six weeks later and finish in New York. I\u2019m sure we\u2019ll manage to make new music while we\u2019re touring, too. It\u2019s easy to be inspired.<\/p>\n<p ><em>Son Lux\u2019s record &#8220;Bones&#8221; comes out on June 22nd via Glassnote Records.<\/em><\/p>\n<p ><strong>Words:\u00a0<\/strong>Hannah Sargeant<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Over burgers and fries, Wonderland chats to the man behind Son Lux and the score producer of the upcoming teen flick, Paper Towns and his new record &#8220;Bones&#8221;.<\/p>\n","protected":false},"author":4,"featured_media":51154,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9419],"tags":[1308,7061],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Ryan Lott of Son Lux talks scoring for Paper Towns | Wonderland Magazine<\/title>\n<meta name=\"description\" content=\"Over burgers and fries, Wonderland chats to the man behind Son Lux and the score producer of the 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