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Less complex is the banger ‘On My Knees’, relying on the simple refrain “ Looks like I’m on my knees again” over a driving, four-to-the-floor beat that raises memories of being on a throbbing, sweaty dancefloor in the early hours of morning. Like the desert, RÜFÜS DU SOL songs change in hues, sustaining and releasing tension, so that their natural beauty disguises their inner mechanics. As the volume, the layers of synths, and the interplay of various melodies picks up momentum, the song becomes more like a sculpture, contoured and textured. Oscillating synths entangle with an understated but momentous drum’n’bass beat. “ At least I’m alive, believe me, believe me, believe me,” he croons on ‘Alive’. The trio’s intricate, canny use of synths and echoing atmospherics on this album are lightly reminiscent of Vangelis’ 1982 soundtrack to Blade Runner.ĭespite the haunting atmosphere, the reminders to stay hopeful and to remain with those who love you keep a vein of optimism running through all of ‘Surrender’. His brooding vocals sound otherworldly, both melodic and melancholic in equal measure. The scattered, rattlesnake percussion on ‘I Don’t Wanna Leave’ underpins the lovelorn, falsetto plea from Lindqvist: “ I got nowhere to go, got nowhere to be… I don’t wanna leave right now, so stay with me for one more night“. How did Rufus Du Sol come to be What is the origin story The year 2010, a mutual appreciation for electronic acts like Booka Shade and Trentemller, a rainy night in Byron Bay, and the rest is history. After their live album and film from last year, ‘Live from Joshua Tree’, the trio remained on location in the state to record ‘Surrender’. The trio have been spending extended time in the sprawling California desert, which makes sense of the spacious atmospherics that are signature RÜFÜS DU SOL. But RÜFÜS DU SOL know the power of house music, with its rich, pulsating percussion and immersive synths, can make even the silliest of mantras sound like euphoric sermons.
#Rufus del sol full
It’s full of mantras (delivered by a children’s choir on ‘Make It Happen’) like “ love will change your life, love can make it happen”, feel-good schmaltzy lyrics that would sound false and forced in less adept hands. ‘Surrender’ reads from the same playbook. Their last album, ‘Solace’, was chock-full of big, dreamy, beat-driven house anthems.
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It’s not a difficult formula to grasp, but the journey never loses its impact. What RÜFÜS DU SOL – Tyrone Lindqvist, Jon George and James Hunt – do is gently draw you in, build a massive, multi-layered climax of beats, vocal harmonies, synths and instrumentals, then allow the waves to subside into stillness before doing it all over again.
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These three repeating notes are deceptively understated, but they lure you in and once they’ve ensnared your attention on ‘Next To Me’, it is hard to escape. The arenas capacity is 22,000, which eclipses the career-high 20,500-person show RÜFÜS DU SOL performed in 2019 at LA Historic Park. A simple, almost ghostly, piano melody opens the fourth album from Los Angeles-based Australians RÜFÜS DU SOL.