Electronic

I wrote several pieces of music for the Assassin's Creed 4 trailer. This one was probably my favorite, but didn't make the cut. 

(And here's the one that went final: http://www.youtube.com/watch?v=xdkm9TKSxyI)

Assassin's Creed - Black Flag Trailer [Alternate Score]

Lady Luck

Lady Luck (Royce Wood Jr Retwix)

The new single from the forthcoming Son Lux LP, "We Are Rising," out 4/26/11 on Anticon.

---

For his second album as Son Lux, New York’s Ryan Lott did a very un-Son Lux thing. He recorded "We Are Rising" in a month -- the shortest month of the year, actually -- while NPR tracked his every move. This, as opposed to the making of his lauded 2008 debut, "At War With Walls And Mazes", which he slowly built in complete privacy over nearly three years. Of course, he didn’t plan it this way. He simply awoke one late January morning to find a message from All Songs Considered titled, “You busy?” The annual RPM Challenge, an international open call to create an album in 28 days, had been issued and Lott had been tapped. How could he say no?

Lott was, in fact, quite busy. Both with his day job at SoHo post house Butter Music + Sound, where "We Are Rising" was recorded, and with the painstaking assembly of what would’ve been the sophomore Son Lux album. But none of those ideas were allowed into this, so Lott shelved them and instead ran headlong into what would become an exquisitely arranged album of classical notions, modern electronics, unusual pop and transcendent emotion. He made the deadline, and got by with a little help from his friends: folks like the yMusic sextet (Antony, Sufjan, the National), DM Stith, Jace Everett and Shara Worden (My Brightest Diamond).

Listening to "We Are Rising", it’s hard to believe the record came together in a rush. “Flickers” offers a paced introduction -- a delicate array of woodwinds, strings, glassy digitalia and synth throb that lifts Lott’s parched quaver into the clouds. Triumphant standout “Rising” follows, bursting in waves of static-smacked keys and choral bliss (Lott and Stith, joined by the Antlers’ Peter Silberman). By the song’s end, it becomes something like the Faint reimagined by Nico Muhly. String-driven late album highlight “Let Go” starts spare and eventually builds into a gorgeous surging symphony of sounds both imagined and real.

Perhaps what the album owes most to its odd upbringing is an inherent unpredictability. Lott picks up the guitar for “Leave The Riches,” a thickly haunted piece that pits Everett’s country baritone against Worden’s operatic coo. And “Claws” is noisy, fuzz-caked and lumbering, while its predecessor “Chase” is all about the details: violin and trumpet tracing intricate circles around percussion provided by members of Midlake and Mutemath. By the time "We Are Rising" closes with the chiming, skittering “Rebuild,” Lott has staked claim over an entire universe of sound, expanding the Son Lux oeuvre in exponential terms, almost accidentally, for years to come.

"We Are Rising" is out on Anticon 4-26-11.


Rising

This is a documentation of works between 2006 and 2007, working at a gas station and attending a community college where I grew up. This album captures the last page of this chapter of my my life.

Pangea

Simple Math

Virgin

The second single from the forthcoming Son Lux LP, "We Are Rising," out 6/14/11 (CD) and 6/28/11 (Vinyl) on Anticon.

---

For his second album as Son Lux, New York’s Ryan Lott did a very un-Son Lux thing. He recorded "We Are Rising" in a month -- the shortest month of the year, actually -- while NPR tracked his every move. This, as opposed to the making of his lauded 2008 debut, "At War With Walls And Mazes", which he slowly built in complete privacy over nearly three years. Of course, he didn’t plan it this way. He simply awoke one late January morning to find a message from All Songs Considered titled, “You busy?” The annual RPM Challenge, an international open call to create an album in 28 days, had been issued and Lott had been tapped. How could he say no?

Lott was, in fact, quite busy. Both with his day job at SoHo post house Butter Music + Sound, where "We Are Rising" was recorded, and with the painstaking assembly of what would’ve been the sophomore Son Lux album. But none of those ideas were allowed into this, so Lott shelved them and instead ran headlong into what would become an exquisitely arranged album of classical notions, modern electronics, unusual pop and transcendent emotion. He made the deadline, and got by with a little help from his friends: folks like the yMusic sextet (Antony, Sufjan, the National), DM Stith, Jace Everett and Shara Worden (My Brightest Diamond).

Listening to "We Are Rising", it’s hard to believe the record came together in a rush. “Flickers” offers a paced introduction -- a delicate array of woodwinds, strings, glassy digitalia and synth throb that lifts Lott’s parched quaver into the clouds. Triumphant standout “Rising” follows, bursting in waves of static-smacked keys and choral bliss (Lott and Stith, joined by the Antlers’ Peter Silberman). By the song’s end, it becomes something like the Faint reimagined by Nico Muhly. String-driven late album highlight “Let Go” starts spare and eventually builds into a gorgeous surging symphony of sounds both imagined and real.

Perhaps what the album owes most to its odd upbringing is an inherent unpredictability. Lott picks up the guitar for “Leave The Riches,” a thickly haunted piece that pits Everett’s country baritone against Worden’s operatic coo. And “Claws” is noisy, fuzz-caked and lumbering, while its predecessor “Chase” is all about the details: violin and trumpet tracing intricate circles around percussion provided by members of Midlake and Mutemath. By the time "We Are Rising" closes with the chiming, skittering “Rebuild,” Lott has staked claim over an entire universe of sound, expanding the Son Lux oeuvre in exponential terms, almost accidentally, for years to come.

All The Right Things

Angel Echoes (Jon Hopkins remix)

Buy on Bandcamp

Jellyfish

From the archives, uploaded for Travel INSIDE a Black Hole: http://youtu.be/3pAnRKD4raY

(2006 - Short Stories)

For You

It's Good to be D

Watch the video: http://youtu.be/_Q_47b507vg

Short Stories (2006)

Going Down // Video link in description

Netsky - Come Alive

Teragraph

Download this song: http://jakechudnow.bandcamp.com/track/carlin-dream
Watch the video: http://youtu.be/HaOzCxSXScU

Context:

Asleep, dreaming, on a wintry night in 2011, bundled up in the bed of my Brooklyn apartment.

That's when and where I made this song. I remembered the soundtrack to my dream so vividly that when I woke up in the middle of the night, I got out of bed to recreate what was to become the beginnings of "Carlin Dream." It makes me wonder what buried corner of consciousness that melody came from, and why these sort of things come to people while they sleep. This isn't the first time I've dreamed of a melody and turned it into a song later.  I guess it's not totally crazy that we can dream music though: where do melodies come from while we're awake anyway? I'd bet it's the same place. 

As for this piece, I recently stumbled across the original music files and decided to build on that 3am stream of consciousness to finish it here, one year later.

Carlin Dream

Clockwork

Recover EP out now: http://po.st/Sm7Tvk

The Bones Of What You Believe out now. Standard: http://po.st/TBOWYB | Special: http://po.st/TBOWYBSpecial

http://chvrch.es/
https://facebook.com/CHVRCHES
https://twitter.com/chvrches
http://chvrches.tumblr.com/

Recover EP

Recover

Here's some battle music I wrote for the Kung Fu Jonny soundtrack. I used some percussion elements from both Maschine and Logic Pro and I played just about everything with a few exceptions. That angry synth in the background is Massive, of course.

I'll keep these coming over time and then eventually release a mastered OST! 

Battle Drums: Kung Fu Jonny OST

http://www.fixtstore.com/product/100714/Celldweller---Celldweller-10-Year-Anniversary-Edition-%282-CD-Deluxe-Set%29-%28MP3-Album%29

The self-titled debut that started it all has turned ten.

At the dawn of the new millennium, songwriter, producer, and multi- instrumentalist Klayton created Celldweller, a ground-breaking aural entity for the next age. Thriving on originality, Celldweller cross-bred electronic styles such as Drum'n'Bass and Psy-Trance with modern Alternative Rock and Metal on his self-titled debut, released independently in 2003.

The Celldweller album met with critical acclaim while climbing to #17 on the Billboard Internet Sales Chart. Celldweller gained Top 40 Metal Radio charting with the track “I Believe You” pulling into a solid 11th place on the R&R Alternative Specialty Show Chart. Achieving a feat shared by only an elite handful of albums, every song on Celldweller was eventually licensed for use in popular media. These songs were heard in movie trailers, TV shows, and games such as Spider Man 2, Constantine, Crackdown, Need for Speed: Most Wanted, Enter the Matrix, CSI, UFC, The Shield, and more.

Now, Celldweller has been reissued to celebrate the tenth anniversary of its release with updated artwork and a second disc of remixes, demos, and previously unheard rarities (all remastered for this release). While Klayton busies himself in his Detroit studio preparing the future of Celldweller for 2013, celebrate the past with this monumental work.

Electronic

Somnifert