We really wanted to make this on a broken beat, for a bit more of that '90s rave throwback feel. I remember we started this about a month before the pandemic, and I showed him this song by an artist called Lorn called 'Anvil,' which is this really beautiful, weird, and twisted electronic piece that sounds like it's being crunched and destroyed a little bit, and it has these rising arpeggios. JH: “A lot of Ty's lyrical gems often come out when we're just jamming on instrumental parts and creating a mood and an emotion. That just felt like an interesting interplay.”
So we had a really beautiful top half that was very cloudlike and dreamy with a beautiful vocal, and we decided to counteract the beauty of it with really hard, edgy drum programming that's sampling wood knocks and lots of wobbly percussion. This started as almost like a Bon Iver idea of having a rising falsetto on the chorus. JH: “This is another one we worked on with Jason Evigan. Me and James have been doing these DJ sets once a month throughout the whole pandemic, and we were able to reference that experience.”
Even the vocals and melodies stayed true from that moment onwards. It came together the quickest of the whole record-we had the bones of it within a day. JG: “This came out of the latter half of the writing period when things were a bit in a lighter mood. And then it kind of all just came together and we thought, ‘This would be perfect for a children's choir to sing.’” Later, we were writing with Jason Evigan at his studio, and we were jamming on this idea of having a simple mantra-like The Beatles' 'All You Need Is Love.' Tyrone and Jason were jamming on that idea while me and Jon were working on the beat and the percussion and making it really housey. A running theme throughout a lot of those songs was a children's choir paired with these darker analog-synth instrumentals. JH: “Early on in the writing process out in Joshua Tree, we had this routine where we would be working out every morning and listening to our favorite throwback dance albums-old Moby records, Röyksopp records, Mylo, and Justice. But I struggled to get through it because the picture that was being painted was just too real!” Tyrone Lindqvist: “I didn't intend on doing that when we were writing the song it felt like a nice thing to do for myself and my wife at that moment.
James Hunt: “Ty tried to sing the song at his wedding, just a cappella, and he couldn't get through it because it was so real.” We bought a piano for this record, and we really had fun being able to lay out tunes bare-bones, with just the vocals and piano, to see if the songs were working in their purest form.” Jon George: “This felt like a really good opening moment for the record-the nakedness of the piano was the perfect summary of where we were at. Here, George, drummer James Hunt, and singer/guitarist Tyrone Lindqvist provide their track-by-track guide to Surrender’s dance into the light. “As we were nurturing the relationships and creating routine and structure, the songs started to get happier and reflect where we were at.” The result is an album that continues RÜFÜS DU SOL’s fluid juggling act between classic house, edgy alt-rock, and bedroom-bound indie, but is fueled by a more palpably positive energy. “We had time to look after ourselves a bit more,” keyboardist Jon George tells Apple Music. Emerging at the time of RÜFÜS DU SOL’s 10th anniversary, the COVID-19 pandemic had a bit of a silver lining for the LA-by-way-of-Sydney trio, who used the downtime to not just work on new music at their adopted spiritual home of Joshua Tree, California, but repair the personal dynamics that had become strained after a furiously productive decade together. It’s a modest yet highly symbolic gesture for a band that had to break it all down in order to build themselves up again. Coming from a group synonymous with strobe-lit, dance-tent-toppling jams, the opening track of RÜFÜS DU SOL’s fourth album, Surrender, begins with a sound that’s startling in its raw simplicity: a repeated piano chord echoing out in an empty room.
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