Category Archives: Interview

New Age Voice Interview with Ryan Lum

Bryan Reeseman interviewed Ryan for a profile on Love Spirals Downwards in New Age Voice Magazine. Check out their Q & A.

Bryan:  Previous L.S.D. albums have featured an ethereal, airy sound which equally balanced the vocals, guitars, and synths.  What can we expect from the new album?

Ryan: Actually there’s never been that much in the way of sythns; perhaps there’s 2 songs each on Idylls and Ardor that have sythns.  As far as instruments go, it’s always been more of a guitar –particularly acoustic guitar– based sound.  Ever, our new album, sort of paradoxically, goes more into both a more stripped down acoustic guitar and vocal sound, to a more all electrionic sampler/analog synths and drum machine base.

Bryan:  How did you choose the direction for “Ever”?

Ryan: It just sort of happens on its own.   Getting new equipment and always growing as a person makes it always new and different.   

Bryan:  Was the trip-hop mix of “Sideways Forest” a one-shot deal or can we expect more unusual songs from L.S.D. in the future?

Ryan: Unusual?  I guess for what some people might expect of us, but I’m fairly certain that our next album after Ever will be made more like that song, with the samplers and analog gear we have, rather than a more guitar-based album again.  For years, I’ve wanted to do more music like that, but it’s been only recently that I’ve had enough gear to do it.

Bryan:  Do you get a lot of comparisons to the Cocteau Twins?  Does that grow tiring?

Ryan: We’re used to, but it’s been 2 years since our last album came out, so it’s been a while since I remember reading any reviews of us comparing us to them.  As time goes on, I doubt that that comparison will be made much anymore.  

Bryan:  Your live show has always been stripped down to you on acoustic guitar and Suzanne on vocals.  What is the reason for this?  Will this continue or do you anticipate perhaps bringing along a keyboard player and/or drummer as well?

Ryan: I doubt it.  We have been doing our shows all-acoustic because we found that it was the best way for us to play live.  I don’t think that we’d necessarily sound better if we were to get a drummer and more guitarists and become a loud band.  The way we do it now really brings out the beauty in our music.  Plus, there’s nowhere for us to hide this way, so people can see that we really know how to play, which has surprised a lot of people who thought we need lots of effects to sound good.  So live, it’s like we’ll use no effects and sound even better than our records.

Mean Street Vol. 8, #4 (1996)

Article by Ned Ragget

For Ryan Lum, instrumentalist for the L.A.based duo, Love Spirals Downwards, sticking t just one means of musical expression is not an option.

“I go between making this pure acoustic music and then going into this analog synthesizer, drum machine sound, tweaking knobs and stuff — just to keep things fun! If I did the same thing for a while, I’d get burnt out!”

Combined with the truly beautiful vocals of Suzanne Perry, Lum’s work in Love Spirals Downwards is a lush, wondrous experience. The band’s third album, Ever, has just been released on Projekt, and clearly demonstrates that Lum and Perry have moved from being simply fine disciples of the Cocteau Twins school of performance to becoming distinctly intriguing artists in their own right.

For Lum, the question of influence is a tricky one, reflecting the tension between inspiration and the need to be one’s own person.

“It’s hard to say which bands listen to are my influences and which are not. I guess everything I listen to somehow gets mixed up in what I do. That’s a tough question, because I don’t know what I’m trying to get away from, or what I’m trying to be like.”

On Ever, Lum found new ways of creating songs (reflected especially well in the new single “Sideways Forest,” in both its original and stripped-down, pulsing remix) which helped flesh out the album in different, intriguing ways, as opposed to the usual practice where he would give Perry a full song track to compose lyrics for and to sing over.

“Usually everything would be completed by that point, all the guitars and basic drum patterns. This album, I found that it was interesting to not have everything down, to just have the basic tracks for Suzanne to sing on, and then afterward I’d add different, new guitar parts that her vocals inspired me to do. It’s a little more interaction than me saying, ‘Here, here’s a song, sing on it and let me finish it.'”

For such a studio-based band –as Lum notes elsewhere, he was creating home tapes four years before Love Spirals Downwards released a record, while careful, full production marks all three releases so far—it might seem that live performances would be something hard to carry off.

Yet the band have played a number of shows over time, which Lum sees as a distinctively different way of looking at the duo’s work.

“For other bands, it might be natural to play live and try and record that later. For me, I record and then later I think, ‘Well, if we are going to play this live, how are we going to do it?’ There’s many different ways we could have gone about it, and the way I chose is essentially the two of us. We don’t have any backing tapes, sequencers or keyboards; we just have Suzanne singing and me playing acoustic guitar. Occasionally she’ll play a little tambourine.

I’ve learned, after playing a few shows, that live is about getting this kind of energy going or magic power happening! One thing that surprised me was that I didn’t know how possible that would be with just our stripped-down live sound. We thought we might need drums or all this other stuff. I’ve found that our acoustic sets are much better than they’d be with everything else!”

Though the band don’t play tours per se, having played at most three separate shows at any one jaunt, Love Spirals Downwards have played its share of one-off shows over time, with one of the most interesting, according to Lum, located in Mexico City — not least because it showed that the band’s fan base isn’t just a goth thing.

“The Mexico City show was typical of our kind of audience, with a mish-mash of different kinds of people. We tend to attract an extremely diverse crowd. There were goths there, but there were any other kind of fill-in-the-blank kind there as well? It was our biggest show, and that was weird! We’d never played to that many people before. Pertormance-wise, we were doing pretty bad that night! But they were energetic, and we fed off that; it made our evening go a little better!”

What’s next? With a few more one-off shows planned in the spring, Lum has already begun recording again, though there’s nothing specific on the horizon: “I don’t have this big scheme or plan; I may stop soon, or I may go for another ten years!”

Interview in Black Moon

Love Spirals Downwards is Ryan Lum and Suzanne Perry. They are one of the bands in the line up at the Projekt Festival. They will be hitting the ethereal air waves with their unique guitar and keyboards. This is one of the bands that I can’t wait to see at the festival. – Lou

Interview by Armand Rosamilia

BLACK MOON: How is your relationship with Projekt Records and Sam Rosenthal?

RL: It’s been pretty good. We get along good.

SP: I think they’re good to us. The royalties are really good. They do a good job of promotion. We’ve been able to be friends with them too.

RL: As opposed to purely business associates.

SP: Obviously, some things are all business. They don’t just think about sales.

RL: Given that fact of life, Projekt is good to us.

SP: They’re artists too.

Continue reading Interview in Black Moon

The News, Vol XLVI NO. 232, Feb 29. 1996

U.S. Avante Garde Duo To Play D.F.

By Jose Fernandez Ramos, The News Staff Reporter

Love Spirals Downwards is one of those alternative bands whose music tends to attract a cult following.

What has happened to this Los Angeles duo, featuring Suzanne Perry (vocals) and Ryan Lum (guitars, electronics), is interesting and sometimes funny.

“One time a magazine requested an interview thinking that we would have a lot to say about LSD, because of the band’s name.” Perry says. “When they found out we have never tried it they lost interest.”

Although many fans attribute the duo’s music with spiritual, mystic and even healing powers, and critics have labelled their work with adjectives as diverse as “dark ethereal,” “gothic,””dream pop,” “angelic,” “Avant Garde,” “ambient,” etc., this young duo put things very simply.

“We just compose music without any specific intention,”Lum says.

Continue reading The News, Vol XLVI NO. 232, Feb 29. 1996

The Ninth Wave: A Journal of Nocturnal Culture #5 Spring/Summer 1995

While the beautiful sounds of California’s Projekt Records have almost become a genre of their own, it was back in 1992 that I first discovered the label, through a compilation entitled From Across This Gray Land 3. The album’s opener was a lush combination of dreamy, swirling guitar and blissful vocals, and I was instantly hooked. That song was “Mediterranea” by Love Spirals Downwards.

The duo of Ryan Lum and Suzanne Perry have since released two successful albums on Projekt, 1992’s Idylls and, most recently, Ardor. LSD is perhaps one of the few bands linked to the ’80s 4AD sound that are actually worth discovering. Knowing how painfully quiet and difficult some ether-celebs are to interview (Mazzy Star, Cranes) I worried a bit about these two. A quick call proved my fears unfounded; they were both delightful and eager to discuss their band. In fact, Suzanne put me at ease instantly with the simple phrase: “Wow, a female interviewer, how nice.” She then went on to recount her memories of beach harassment. But that’s another story.

I began my probe with the most obvious queries about their background, musical and romantic.

“We grew up in the same area of California,” explained Suzanne. “But we didn’t know each other until we started dating. We were both doing music, but I never thought I would make a career out of singing. We decided to try doing a couple of songs together, so we went into the studio and recorded a three-song demo.”

Continue reading The Ninth Wave: A Journal of Nocturnal Culture #5 Spring/Summer 1995

Dusk Memories Interview with Love Spirals Downwards

Ryan Lum, who plays all the instruments in Love Spirals Downwards, a new group from the Californian label Projekt, answered some of our questions.

DM: Which groups have influenced you the most?

Ryan: I was influenced by many artists of different styles, including Harold Budd, Brian Eno, classical music of India, Cocteau Twins, Dead Can Dance, Slowdive, the other Projekt groups, the Orb, the Primal Scream, the Grateful Dead, the Pink Floyd, the Beatles. I recently discovered the Ordo Equitum Solis, and I like them a lot. A long time ago (1986-88) I was very passionate about 4AD artists, especially the Cocteau, but then my subsequent evolution led me to more ‘psychedelic’ bands like the Popul Vuh of the early 70s. I still like Cocteaus, though: the first song of the new album is incredible!

DM: What does the name of the band mean?

Ryan:  We didn’t have any particular meaning in mind, we just liked the sound of the name.

Continue reading Dusk Memories Interview with Love Spirals Downwards

Ink Spots #19, April 1995 Interview

By Andrew Chadwick

Love Spirals Downwards create haunting tapestries of beautifully layered ethereal guitars and stirring, golden female vocals which seem sometimes like a shaft of sunlight making its way through the smoky gloom. Their debut album, Idylls, invited listeners into their shimmering world. With Ardor, their second release for Projekt, Love Spirals Downwards seem to have become more comfortable with their listeners and embrace them with their bare souls. In February, I spoke with the two members of Love Spirals Downwards, Ryan Lum and Suzanne Perry, about the change between albums, the band, and their impending tour.

Idylls seems a lot darker than Ardor.

Ryan: That’s interesting, because some people who we showed Ardor to before it came out said, ‘It’s not that different,’ and other people said, ‘You guys have really changed a lot.’

Your fundamental style has stayed the same; I think it’s just your approach.

Suzanne: Yeah, it’s definitely a little lighter – not much lighter, though.  You couldn’t describe it as light, but when you compare it to Idylls, its kind like one step about suicidal, you know… (Laughs)

Ryan:  I don’t think it’s suicidal.

Continue reading Ink Spots #19, April 1995 Interview

Interview in Danse Macabre Vol 3 

DAVYD: Were you together as a band previous to being in the area?

SUZANNE: I guess in ’91 we started? Well, I’ve always been singing and he’s been doing music for a really long time. We actually were going out before we started doing music together. I had never done music with anyone before. We did a few songs together then trashed those 2 or 3 songs because we didn’t think they were too good, did a few more and put them on a demo tape and sent them off. At that time we were calling ourselves The Flower People as a joke.

DAVYD: Did any of the songs you were working on then make it on your CD?

RYAN: Our song “Forgo” is on our album and that’s one of those songs, “Dead Language” is also on our album. We also have a couple songs on Projekt compilations.

SUZANNE: That’s pretty much how we started, I was just basically fooling around. He had a lot of instrumental stuff and I just started humming on it and it worked.

Continue reading Interview in Danse Macabre Vol 3 

Fond Affexxions Issue 5 Winter Thaw 1995

SHORTTAKES LOVE SPIRALS DOWNWARDS

By R. Rusvic

You know how when you’re a kid and you get out of the swimming pool? This tea smells like that,” explains Suzanne Perry, LSD’s vocalist. She passes the cup to guitarist, Ryan Lum, and then onto myself and we agree, amazed at the purity of her asseement. We’ve gathered in the duo’s comfortable Westside apartment to discuss the release of ‘Ardor,’ their second full length record. Nearly two years have passed since the band’s debut, ‘Idylls,’ and the band has progressed admirably. One thing that strikes the listener as different is an ongoing sense of unity within ’Ardor,’ an intangible, um, concept.

It dawned on me as I was finishing the album that the way I was mixing the song somehow tied them all together,” says Ryan.

It has more of a sense of worldliness than the previous record,” reveals Suzanne. “When I was singing, I tried to be more personable.” 

Continue reading Fond Affexxions Issue 5 Winter Thaw 1995

Carpe Noctem Vol. 2, Issue 1, 1995

“Into a Well of the Looking Glass” by Aaron Johnston

I was always involved with the ethereal music scene, but never to the degree where it became a driving passion. The nature and tone of the music was, in essence, a very articulate reflection of who I was in self, but there were simply no bands I knew of pushing the sound beyond its gates to a point of unavoidable adoration on my part. It wasn’t simply a matter of finding the perfect band, but of finding the perfect window. Through time and dedication, any group could eventually release an album with the most delicately perfect instrumentation and ideally placed melodic trim, but what is it if there is no decisive emotional push behind it? This question was at the forefront of my mind for many years, and was finally answered one evening as I sat down to listen to a prodigal young instrumentalist named Ryan Lum conspire with an astonishingly angelic vocalist named Suzanne Perry under the name Love Spirals Downwards.

Within a matter of moments, the two managed to capture a well of feelings and affections wrought with a long-held yearning for excommunication and deliverance; a subtle and pure exorcism of the soul. I always thought this kind of experience was a bit too “new age” to be truly revealed to anyone living in the real world, but I was disproved time and time again with each successive listen. I was, in all honesty, baffled by the two arms which were weaving me through the first stages of my spiritual and emotional re-education. Ryan and Suzanne had me wrapped around their fingers, plain and simple. Rather than a feeling of manipulation, however, I was a willing participant. Although it was the effort of two, the group worked almost in a doubled unison. I was traded between Ryan’s deep guitar and keyboard exchanges and Suzanne’s beautiful vocal raptures time and again with abandon. In essence, it felt as if I were being led along by a single hand with two separate bodies, two distinct minds thinking and reacting as one.

Continue reading Carpe Noctem Vol. 2, Issue 1, 1995