Son Lux on Sisyphus: “It sounds to me like three friends in a room having fun and permitting one another the freedom to get smart and get stupid”

On the face of it, you wouldn’t think there was a Venn diagram in existence that would pull together Sufjan Stevens, Anticon rapper David ‘Serengeti’ Cohn and beatmaker, and composer extraordinaire Ryan ‘Son Lux’ Lott, for the purpose of making a record. But that’s exactly what happened in 2012 when the trio dropped the Beak & Claw EP as s/s/s. Now, that EP was often a case of promise unfulfilled: a collection of songs based around synth pad triggers, beats, strings, Sufjan’s heavenly voice and Serengeti’s cosy, conversational rapping style that was occasionally as muddled and directionless as that bunch of styles and influences might suggest.

Two years on, and thanks to a commission from the Minneapolis-based Walker Art Center, based on the work of artist Jim Hodges, the boys are back under a new name, Sisyphus, with a new album. And rather than it being the sound of someone endlessly pushing a boulder up a hill to no great effect, Sisyphus is a great deal of fun. Relaxed, often formless, yet hanging together a lot better than we heard on Beak & Claw the album somehow manages to – for the most part – seamlessly combine orchestral movements, spluttering electronic pop and avant-rap rhymes and beats and sound like three friends enjoying themselves in the studio rather than a study in structures or an airless art installation.

Best Fit managed to pin down the beat maker of the outfit, Son Lux, to answer some questions about the record and the formation of the trio, plus a few bonus questions about Ryan’s solo work in the wake of last year’s Lanterns album and recent Lorde-featuring Alternate Worlds EP…

Hi Ryan, thanks for taking the time to talk…how are you and where are you?

I’m in Brooklyn, but only briefly. About to head out again on the Lanterns tour. I just finished installing blinds in my apartment and I’m sitting in a pile of tax documents and bills. Rockstar life.

Can you take us back to the start of S/S/S and Sisyphus….how did the whole thing begin, who approached who?

Sufjan sent some random “beats” to Geti , who was putting together Family & Friends. Sufjan’s contributions were so off-the-wall that he and Yoni Wolf, who was producing, decided to ditch the tunes. But first, they sent one to me to see what would happen. I did my thing and shot it back. It still stood out like a sore thumb, but in a way that everyone involved decided should be the start of its own animal. The tune was what would become “Museum Day”.

What brought about the name change?

Unlike Beak & Claw, where we all worked separately (except for a small amount of work Sufjan and I did together in my studio), Sisyphus was executed almost entirely as a trio. Same room, same bottle of wine, same can of Axe Body Spray. The distinction is evident in the vibe of the record. It sounds to me like three friends in a room having fun and permitting one other the freedom to get smart and get stupid.

Was the intention always to eventually make a full record? Or is it a case of the opportunity only arising when you, Serengeti and Sufjan have the time?

We set out to make an EP, but had too much good material to stop. We all set aside the time and made it happen. It was all-consuming when we worked on it, which is how we pulled it off.

So the album/work was commissioned by the Walker Art Center, would it have happened without their input?

Probably not. We needed the kickstart.

Can you tell us more about the work of Jim Hodges and how it had influenced the album? Is it more about having a jump-off point or do the songs directly connect to the art works in some way?

His work impacted us in various abstract ways. We would often “shock the system” of our process with meditations on his work, rather than use it as a starting point.

How do you find working collaboratively with Sisyphus compared with your work as Son Lux?

It’s pretty different. On a technical level, I like really tidy sessions and engineering carefully. Sufjan tends to be messy and haphazard (it’s a good thing, too, or we’d have never finished). Also, I collaborate a lot on Son Lux, inviting friends and musicians I admire to be a part. But I’m always Boss. With Sisyphus, we all have an equal say. Give it more than you can take.

So no-one takes the lead in Sisyphus? Sufjan said in an interview that you’re in charge, and you can see where he’s coming from in that it often appears that the beat or instrumentation takes the lead…

Nah, he’s just being generous (which is typical Sufjan). He and I would often toss out contrasting opinions and let Geti decide. Because he wasn’t sitting in front of screens like we were, he often had a valuable ears-only perspective on things.

Can you tell us much about the video for “Alcohol”? There’s plenty of celebrity on show, so who takes the lead on visuals?

That lovely gem was crafted by John Beeler of Asthmatic Kitty Records, with the help of some dedicated interns. We all discuss visuals, but Sufjan usually takes the lead. He’s the only one with more than just an informed opinion on visual things.

What’s next for Sisyphus? Do you see much of a future for the group? Will you be performing the record much outside of the commission?

Man, there’s no telling. We’ve thrown around some ideas, and we have various assets in the work to support the record.

Can we talk about Lanterns briefly? How do you feel about the record a few months down the line?

I’m very proud of it and of everyone on it (I had lots of help). It doesn’t sound like anything else exactly, and I do many things I’ve never heard anyone try. Even in the first seconds of the record, there’s a combination of sounds you’ve never heard (dozens of staccato vocal “ah’s” that “bounce” and accumulate, paired with 2 tremolo’ing mandolins). It’s not derivative, and yet, it’s catch-y and approachable. That’s quite a difficult task.

It’s been very well received, does that give you any kind of validation or confidence, or is it not something that worries you?

Not really, because I don’t need validation from reviewers. Critics serve an important function, just not for me. I’m not interested in receiving “scores” for my “performance” as if I’m engaged in some competition. For one, the critic judging the music doesn’t know more about making music than I do. And more importantly, that person cannot know what I intended to accomplish musically, such that they can compare against it. Only I know that, and only I can judge it. But besides my own internal voice, I value the perceptions of voices I trust. Fellow musicians I admire and good ol’ fashioned music lovers. People with hearts and hands.<

Can you look back with fresh eyes now from a distance and think you’d like to have done anything differently?

I wouldn’t change anything. However, I do get a kick out of reworking my material. That’s the spirit of the Alternate Worlds EP that I just dropped, which is comprised of four re-imagined songs from Lanterns.

Will working with Sisyphus ever have any impact on Son Lux’s records?

I should hope so! Dave and Sufjan were inspiring. They both instinctively create music very differently than I do. I learned some things, so I expect there will be some impact on my work moving forward.

With the Sisyphus record being commissioned, and the likes of Sufjan and Bryce Dessner also releasing works based around being commissioned….is this something that you’ll continue to find yourself doing? Or would you prefer to work on your own terms?

I’ve been receiving commissions for 13 years now, I’m just not famous like those dudes! I’ve written many hours of music for dance, and scored my first feature film.

Finally, what’s next for Son Lux?

Who knows. I’d love to do more film, continue to write music for dance, and maybe make some beats for Beyoncé and Björk.

Sisyphus is out now on Asthmatic Kitty Records and Joyful Noise Recordings.