More pervasive than a virus, anxiety and urgency has spread across our physical and virtual landscapes. The growing inequities of centuries old and current day complexes of oppression has reached a critical and necessary breaking point, forcing us out of our severe isolation back together in a call for justice. All the while, the continued trajectory towards climate catastrophe still creeps across the horizon into our view, another result of the valuing of profit over people.

These defining traits of the present moment find parallels on the newest body of work by Son Lux: Tomorrows, a long-format album to be released in three volumes over the course of a year. On Tomorrows, Ryan Lott, Rafiq Bhatia, and Ian Chang train their sights on volatile principles: imbalance, disruption, collision, redefinition. But for all of its instability, Tomorrows’ exploration of breaking points and sustained frictional places is ultimately in service of something rewarding and necessary: the act of questioning, challenging, tearing down and actively rebuilding one’s own identity.

“We’re peeling things apart and putting them back together throughout this record,” explains Lott. “Emotionally, relationally, and musically.”

Though Son Lux embraces musical exploration as a foundational practice, the band has never before experimented with format. Tomorrows does away with the restrictions of the traditional album, marking a notable departure in feeling from past releases. Whereas prior Son Lux albums have been packed to the brim with ideas, the three-volume format of Tomorrows affords the music space to breathe and develop. Each release sees songs spun together with liminal instrumental spaces, resulting in a more natural flow while letting sound lead in conveying the complexity and tension of the story.