Son Lux’s first release of new music since their prismatic 49-track soundtrack for Everything Everywhere All At Once, Risk Of Make Believe encapsulates what made the experimental rock trio a perfect fit for the film: an unlikely alchemy of beguiling sounds and heart-on-sleeve passion. It is further evidence of Son Lux's wild creativity, voracious appetite for experimentation, and ability to distill seemingly disparate universes of sound into a signature unmistakably their own.

Patience and ease pervade the EP’s title track, “Risk Of Make Believe.” The song begins with what sounds like drums through a vocoder up in the choir loft. Ian Chang and Rafiq Bhatia join with a precise but pliant groove, drums and bass moving together as if in slow motion. What unfolds is an unhurried song that never feels restless in its gradual evolution. Ryan Lott sings, “What’s the risk of make believe?” weaving a plea to give oneself permission to change through tessellations of crystallizing guitar. 

“Don’t Say It’s Too Late,” the EP’s second track, features Grammy Award-winning arranger and string player Rob Moose (Bon Iver, Paul Simon, John Legend, yMusic). The interplay between Lott’s voice, electronics, and strings creates a sweeping winter ballad balancing longing and loss, precariously reaching for the hope of reconciliation.

More traditional tracks give way to a pair of slowly unfurling songs on the meditative back half of the EP. Fans of the band will recognize the minimal, repeated refrains as a return to Son Lux’s roots. “Cocoon” holds space for metamorphosis over seven minutes, its spare, cyclical form belying a steady, relentless revolution. Detuned Tunis drums and prepared guitars shed like a chrysalis from around a choir of Lott’s evolving vocals, propelled by Chang and Bhatia’s sinewy rhythm section sensibility. 

The EP closes with “Take Your Time With Me,” a slow-burn anthem that showcases the band's ability to reconcile hooky pop and thrilling experimentation. Spacious clearings of sound give way to technicolor thickets, with Chang’s drumming thrillingly pitting splatter-paint abstraction against nod-inducing viscerality. The EP leaves us right where we began—imagining and longing for whatever reinvention might follow.