At the intersection of instrumental discernment and dance music production is RÜFÜS DU SOL. The Australian trio—composed of Tyrone Lindqvist, Jon George and James Hunt—is globally renowned for its live guitar, vocals, synths and drums performances within the dance music space. Today, October 21, the iconic group showcases its distinct sound on Surrender.
The 11-track LP reminds listeners of why RÜFÜS DU SOL reigns within the live-electronic space. The body of work is texturally diverse, offering raw emotions, captivating vocals, organic and cinematic soundscapes, haunting synths, celestial sounds and moments designed for pure dance floor euphoria. Indeed, the body of work proves to be another masterful production by the group.
Surrender was created during lockdown, with several of the tracks made during a six week studio trip the band took to Joshua Tree—even staying adjacent to the location its Live From Joshua Tree album was filmed and recorded on. During this time, the trio started each day with group meditation, intention setting and a group workout—allowing the members to become closer than ever before. “We sort of tried to basically heal a bunch of wounds that have been created over the last 10 years of being in a band, try to become friends again and have a safe space in the studio to play,” George says. He adds that the name of the album reflects their intention to trust each other again: “It meant a lot to us because it was surrendering to that process, surrendering to that trust.”
Following two years of a hectic touring schedule, Hunt says that the three of them hadn’t been in sync with one another, so this time was important to reconnect, talk out their feelings and introduce a new structure to their writing. He notes that becoming more in-tune allowed the group to get a better idea of the sounds they wanted to create. The band explored playing the piano as well as creating sample chops of their vocals, with Lindqvist adding that their songwriting process was positively affected as they had the opportunity and the freedom to “explore a lot of uncharted musical territory,” such as different drum programming and not having to follow their typical structure or timeline of creating music. “This is one of the first times we were reminded why I feel like we love doing what we do,” Hunt says.
“It’s inherent as being in a band for 10 years and knowing each other throughout our twenties and having gone from being just three kids that love music and love making music to a band that could afford to travel to Europe and then to the U.S,” Lindqvist says of the band members needing to become close again. “There was a lot of excitement and we were making the most of getting to travel the world—doing what we love. And I think in the process, we maybe lost some sight of where we were going and why we were doing what we were doing.”