Love Spirals Downwards’ Ardor (1994) is a landmark in ethereal wave and dream pop music, fusing introspective lyricism, mythological depth, and richly textured soundscapes into a cohesive and captivating whole. Following the success of their debut Idylls (1992), Ryan Lum and Suzanne Perry refined their creative vision, pushing their artistic boundaries to incorporate elements of shoegaze and ambient experimentation.. Released on CD and cassette by Projekt Records in the U.S. and on CD by Hyperium Records in Germany, the album expanded their audience, selling over 15,000 copies and cementing the band’s place as innovators in their genre.
Described by Singapore Vogue as “compelling, evocative, and very, very beautiful,” Ardor offers fifty minutes of lush, immersive sound that continues to resonate decades after its release.
From Idylls to Ardor: A More Cohesive Vision
Love Spirals Downwards’ debut, Idylls was built in large part from instrumental demos Ryan Lum had written in years prior. In contrast, Ardor was crafted with a clearer sonic vision, resulting in a more cohesive and refined sound. In a 1994 interview with Jon Gonzales for an official Projekt promotional cassette, Lum reflected on this shift:
“Our first album, more so than this one, was a collection of songs. It just kinda happens it was all the songs we had made up ’til then, when we released our debut album. A lot of those songs I had never intended to be released, they were just demos that got turned into real songs. On this new album, since we were signed, obviously I knew they were going to be released. As far as a concept, I had more of a sound concept, but it kinda hit me when I was almost done with the album. The way I mixed the songs tied them all together.”
While Idylls blended ethereal, darkwave, and classical Indian influences —sometimes with heavy tribal beats from their Alesis HR-16 drum machine– their sophomore release introduced the more immersive textures and laid back beats of shoegaze. The album’s press release from Projekt noted this evolution,
“On their new album Ardor, Love Spirals Downwards continues their dream-like sound with a blissful and uplifting feel that picks up from the slightly darker, almost Eastern, sound of their debut.”
This shift from a scattered collection of songs to a more deliberate and unified artistic vision paved the way for Ardor‘s exploration of shoegaze-inspired soundscapes and experimental techniques, which became central to the album’s identity..
Expanding the Sonic Palette: The Shoegaze Influence on Ardor
With Ardor, Ryan Lum’s musical influences broadened even further, weaving elements from the burgeoning shoegaze scene into Love Spirals Downwards’ signature ethereal sound. Lum’s admiration for artists like Slowdive and Seefeel brought a new depth to the band’s sonic landscape. In a 1995 interview with Dusk Memories Italy, Lum reflected on the range of artists shaping his evolving sound:
“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, Primal Scream, the Grateful Dead, Pink Floyd, and the Beatles. A long time ago I was very passionate about 4AD artists, especially Cocteau Twins, but my subsequent evolution led me to more ‘psychedelic’ bands like Popol Vuh of the early ’70s.“
While critics often compared Love Spirals Downwards to Cocteau Twins, Lum was eager to shift the conversation. In 1995, he told The Ninth Wave: “I know they have to compare us to something, but how about Slowdive?” Suzanne Perry even poked fun at Lum’s growing admiration during a Danse Macabre interview, quipping, “You want it to sound like Slowdive.”
The connection wasn’t merely theoretical. At their first live performance in 1995, Love Spirals Downwards covered Slowdive’s “Visions of LA” from the band’s then-recent album, Pygmalion.
In that same Danse Macabre interview Lum compared the sonic shift from the first to second album, “There’s a lot of texture coming from electric guitar too. On our first album, it was mostly acoustic.” While listeners associated his droning soundscapes with keyboards, Lum clarified that Ardor was almost entirely guitar-driven: “People have asked me if there was something else. On a couple of the songs, we use minimal keyboards—basically, we hold the same note down through the whole song—but basically, it’s guitars.”
Much of this layered effect was achieved through Lum’s use of effects pedals and looping. In a 1996 interview with Requiem, Lum explained how improvisation often led to song creation:
“I’ll have all my effects together and when I’m recording, I just start plugging different ones in to make different sounds. A lot of times I make songs just from messing around with sound. I don’t even intend to write a song, I just mess around with new effects trying to make some sounds, and the sound of all of it will inspire me.”
His arsenal included chorus, delay, reverb, and phasing, but mong the many effects Lum experimented with, one stood out in shaping Ardor’s dreamlike textures: the Ebow, a handheld device that mimics the sustained bowing of a violin. Lum explained its appeal in a 2018 band podcast: “You hold it above the strings — instead of a pick or your fingers — you hold it on top of the strings as you play and it sustains a note, basically infinitely. Like a violin bow, hence the name Ebow.”
Interestingly, the Ebow was also a prominently used by Slowdive on their influential Souvlaki album, further highlighting the connection between the two bands’ sonic approaches.
Key Tracks: “Will You Fade” and “Write in Water”
In an official Ardor promotional cassette released by Projekt in 1995, Fond Affexxions writer Jon Gonzales spoke with Ryan Lum and Suzanne Perry about which track should be the album’s single: “Will You Fade” or “Write in Water.” The conversation offered insight into the duo’s differing perspectives on the songs, while also highlighting how Ardor balanced immediate, shoegaze-inspired intensity with more delicate, introspective beauty.
“Will You Fade” stands out for its swelling dynamics and emotional urgency. Gonzales likened the experience of hearing the track as an album opener to the jolt of Slowdive’s “Alison” on Souvlaki:
“It just, like, ‘BOOM!’ It just slammed me right into it.”
He pointed to the song’s pop structure, emotional build-up, and Perry’s layered harmonies as reasons why it seemed like an obvious choice for a single:
“It kinda builds, has a momentum, a great hook, and it’s got English lyrics — so that was my choice for a single.”
Lyrically, “Will You Fade” explores the uncertainty of a fading connection:
“I’m finding missing you much deeper / I can feel the ice begin to crack / And then there were signs but chances / Burning through me.”
The repeated question, “Will you fade now, should I let you?” encapsulates the vulnerability and emotional strain of a relationship drifting apart.
When asked which track best represented the album, Lum didn’t hesitate:
“‘Will You Fade’ is probably my favorite song of the album.”
Perry agreed, expressing pride in her vocal performance on the track:
“I personally like ‘Will You Fade’ better. I’m more proud of my vocal performances there than… Really, ‘Write In Water’ is actually probably one of my least favorite songs on the album.”
While “Will You Fade” captured Lum’s vision of the band’s evolving sound, “Write in Water” offered a more introspective, atmospheric counterpoint. Gonzales described it as a bridge between the pop sensibilities of Ardor and the ethereal, layered textures of Idylls:
“It felt rooted in the first record — like a progression from the first record, in a pop sense, but not as strongly as ‘Will You Fade.’“
The song’s title and refrain draw from John Keats’ epitaph — “Here lies One Whose Name was writ in Water.” The imagery evokes themes of impermanence and emotional fragility:
“Lost, lost in what seems / That’s how it should be / Who, who is to see? / We write in water / Now.”
Perry’s use of medieval language in the opening line, “My lief es far en londe” (“My love is far away”) –a callback to the medieval influences of Idylls— further emphasized the song’s sense of yearning. Despite her initial criticism of “Write in Water,” she later acknowledged its poetic depth in a 1995 interview with The Ninth Wave:
“I never realized all the images it evokes. The song “Write in Water” has so many different subconscious levels, and I spent so little time planning it. I have a really serious time experiencing it, and listening to it, but I guess I don’t have a lot of confidence in my ability to write. I don’t necessarily think it’s my gift. I’m not bad, but that’s not the means by which I express myself. And I don’t know how much I want to reveal of myself, like the really personal stuff.”
While Lum remained firm that “Will You Fade” was his favorite track of Ardor, Perry later changed her opinion, telling DJ Wednesday on Generation Death, “It’s hard because I have different favorites at different times. Right now, it’s “Subsequently.” That’s definitely my favorite.“
Embracing Nonsense: “Subsequently“
While Will You Fade and Write in Water showcased Perry’s evolved use of English lyrics, another track on Ardor took a different approach. Subsequently marked a return to her earlier glossolalia style—but this time, it was framed within a looser, jazz-inflected composition. In their 1995 cassette interview, Jon Gonzales noted that both Perry and Lum were experimenting in new ways, telling Lum: “Where Suzanne has struck out and made some lyrics with English and has dared to be questioned on that, you, too, have also made some definite strides in like, going in different directions.” Perry agreed, describing Subsequently and Avincenna as having a “kinda real jazzy, kinda blues” feel.
Perry’s playful glossolalia technique, previously heard on Idylls, resurfaces on “Subsequently” in a more deliberate and thematic form, as she explained in in a Carpe Noctem interview
“We get a mood for a song, and if I think it has an Italian or Latin mood to it, I’ll try to almost mimic that language to evoke that sort of mood. The songs in that way — at least on Ardor — are more thematic. Ardor has been a bit different. I thought I’d maybe write some words to it.“
Rather than conveying a concrete narrative, Subsequently treats the voice as an instrument. Perry’s layered vocals move fluidly through the track, using phonetic sounds to evoke emotion rather than articulate thought. The result is hypnotic and liberating—a reflection of her belief that music should prioritize beauty and sound over literal meaning. She expanded on this idea in a 1995 Generation Death interview:
“We don’t use a lot of books or poetry when doing music. To me, it’s very separate — writing poetry or writing prose, literature and that is completely separate from music. I mean, I think that’s why a lot of times we use non-sensical syllables and just whatever sounds good. I guess it’s more about sound; for us, it’s about sounding beautiful — or whatever we want it to sound like.”
But Perry’s return to glossolalia wasn’t just about aesthetics—it was also about personal comfort. In a 1995 interview with Muse, she reflected on the emotional weight of writing traditional lyrics:
“There is. It’s a lot harder for me to write words that are personal, than to write nonsense lyrics because I’m getting into things that I reveal about myself. I don’t know how comfortable I feel with expressing myself in that way or putting that into music. I don’t want to have to listen to songs and think back and say, ‘Oh, that’s when I was going through that. That’s a bummer. That was 1994.‘”
Lum supported Perry’s creative choice, seeing it as part of the band’s artistic philosophy:
“I think a lot of people come to singing with the assumption that bearing their soul is something that they need to do in their lyric writing. What we do is break that assumption.”
While Lum had started to feel more certain about the band’s direction, Perry remained ambivalent about committing fully to music. Their academic commitments further reinforced this divide, as the two were often separated during the recording of Ardor, significantly shaping the album’s creation process.
Creating from a Distance: Experimentation and Instrumentals
Though Love Spirals Downwards had already established their signature dreamlike aesthetic, Perry and Lum had increasingly different perspectives on the role of music in their lives. Perry viewed it as one creative outlet among many, while Lum saw it as a deeper pursuit. Their differing levels of artistic investment, combined with their physical separation, shaped how Ardor came together.
Due to their academic commitments, Perry and Lum were often separated during the recording of Ardor. As Perry explained in a Danse Macabre interview:
“I’m in a Masters program and I’m doing my thesis, and he’s been doing a Ph.D. in a Philosophy program and trying to do an album. Actually, for the most part, he’s been in Santa Barbara and I’ve been in San Francisco.”
This physical distance significantly impacted the album’s creation and led Lum to explore creative solutions. Perry notably contributed lyrics to only five of the thirteen total tracks. In her absence Lum manipulated some of her pre-recorded vocals, experimenting with reversing tracks to create eerie, layered effects.
“Some of the stuff is played backwards, her voice we played backwards on some stuff, too.”
The best example of this is “Sidhe,” where Lum reversed the vocal track from the duo’s cover of “Could I Stay the Honest One,” recorded for the Of These Reminders compilation set, to haunting effect. Perry later mirrored the reversed playback by attempting to sing it forward, creating a surreal “backwards-forwards” effect. She described the process:
“There was this one where we played my voice backwards and then I imitated what was playing backwards, forwards. So it’s like backwards-forwards. It’s really difficult to sing what is backwards. I really like it though, it sounds really cool.”
The result was a mesmerizing track that felt both ancient and otherworldly. The Chicago Maroon praised its mystical quality:
“The dark ‘Sidhe,’ with its chanted female backing vocal incantations takes you on a journey to the realms of Faery.”
A near-instrumental similarly enchants, despite its lack of narrative. “I Could Find It Only By Chance” features Perry humming the wordless vocal melody “La di, la di, da da da” repeatedly over Lum’s flowing guitar textures. The track evokes a meditative sorrow. As The Daily University Star described it:
“Lum’s guitars overlap and flow like water. Perry, who is at her most melancholy in this song, repeats the same mournful phrase over and over again. Luckily, the music does not rely on words to make the song, and the feeling, rather than the meaning, of the words comes through loud and clear.”
The album’s only pure instrumental piece, “Mirrors A Still Sky,” provided Lum with a chance to let his Ebow skills shine unobstructed in a mid-album moment that drew comparisons to the duo’s earlier work by Ninth Wave:
“Ardor is quite different from their previous work, while maintaining all the elements you already love. Until track five, when the opening chords of the instrumental lullaby ‘Mirrors A Still Sky’ bring you back to Idylls.”
But while these songs pushed Ardor’s sonic boundaries, two of its most unforgettable tracks emerged from a new collaboration—one that hinted at the band’s future evolution.
A Glimpse into the Future: Seefeel, “Sunset Bell,” and the Path to Ever
While Ardor maintained its shoegaze and dream pop roots, one track hinted at the band’s future sonic direction. “Sunset Bell” was born from an impromptu session with guest vocalist Jennifer Ryan Fuller, during the recording of “Depression Glass.” As Fuller later recalled, she was just improvising, unaware that Lum had already hit record:
“I was just fooling around with the microphone and the looper, and all of a sudden I noticed Ryan was recording. ‘What are you doing?’ I asked. ‘Just keep going,’ he whispered.”
The result was “Sunset Bell,” a nearly 6 minute soundscape built from layered vocal loops and droning guitar textures. Lum described its unconventional nature in a Fond Affexxions interview:
“It’s technically not an instrumental, but I think of it as one because the vocals are just these big loops that sound like instruments.”
This fascination with loops marked Lum’s next creative shift. Inspired by the experimental soundscapes of Seefeel, he praised the band’s influence:
“I’ve been very into Seefeel. I think what they’ve done with loops will be influencing people for many years to come. Some songs on Ardor were probably influenced by them.”
While Perry approached music on a project-by-project basis, Lum had begun to see a clearer trajectory for the band’s sound. His increasing fascination with loops and textures set the stage for what came next—a spontaneous moment in the studio that hinted at Love Spirals Downwards’ future direction.
A Different Voice: Jennifer Ryan Fuller’s Collaboration
While Ardor was largely shaped by Lum and Perry’s creative dynamic, two tracks introduced a new voice into the mix. Bay Area poet and vocalist Jennifer Ryan Fuller joined the duo in the studio, bringing her own lyrical sensibilities and improvisational vocal style to the album. Her contributions—Sunset Bell and Depression Glass—offered a fresh perspective, blending seamlessly into Ardor’s ethereal yet deeply emotional atmosphere.
Unlike Sunset Bell, which was built from looped, wordless improvisation, Depression Glass took a more structured approach. Fuller adapted her poem Dream of Love into lyrics, bringing an evocative and melancholic lyricism to the song’s sweeping arrangement. She later reflected on the experience on her blog:
“I recorded this song with Ryan Lum and Suzanne Perry of the band Love Spirals Downwards in 1993 for their album Ardor. Suzanne and I created the vocals, and I adapted a poem I wrote for the lyrics.”
The song’s emotional weight resonated strongly with listeners. Dark Angel fanzine praised its bittersweet beauty:
“Quite possibly a reflection of my current nebulous melancholia, Depression Glass stands out again and again through each repeat play. The appropriate downward spiraling of its minor progression carries the listener along. But rather than burdening the ear with melodic despair, Depression Glass, like much of Ardor, aids in meliorating gloom into a non-combative internal calm.”
Even years after its release, the song remained a standout in the band’s catalog. Magnet Magazine, reviewing the 2000 retrospective Temporal: A Collection of Music Past & Present, called it: “A moodist masterwork.”
Through Fuller’s poetic lyricism and her and Perry’s intertwined vocal harmonies, Depression Glass became one of Ardor’s most emotionally poignant moments—a testament to the album’s ability to merge beauty with sorrow, and sound with feeling.
Mysticism and Meaning: “Avicenna”
Following the poetic introspection of Depression Glass, Avicenna introduced a different kind of lyricism—one steeped in biblical language and spiritual longing. The song’s title likely references Avicenna (Ibn Sina), the Persian philosopher and polymath known for his writings on metaphysics, theology, and the soul. Given that Lum was pursuing a philosophy degree at the time, the title may reflect his academic interests, though its connection to the lyrics remains open to interpretation.
Perry’s words in Avicenna borrow heavily from the devotional themes of Psalm 119, with lines that read like a plea for divine guidance and comfort:
“Teach me all of Thy ways Lord / Statutes and I shall heed / Heal me and I shall heed Thy laws / Show me”
“My flesh trembles / For fear of Thee / I am Thy servant / Comfort me”
Despite the overtly religious language, Perry often downplayed the significance of her lyrics. In a 1994 Fond Affexxionsinterview, she described her process as reactive rather than premeditated:
“I didn’t have any of these lyrics written prior to hearing the music, and each… all lyrics were written for each song, like, for that particular song. It wasn’t like I had a book, and I took the lyrics out of a book I’d been writing lyrics in.”
However, in a 1998 KUCI interview, she acknowledged having attended a religious school, hinting that these themes may have emerged subconsciously. This intuitive approach stood in contrast to Lum’s more structured, philosophical perspective—highlighting the creative push-and-pull that shaped Ardor.
The song’s haunting, meditative quality resonated with listeners and critics alike. Chart described it as:
“Especially lovely… The duo of Suzanne Perry and Ryan Lum create meditative song scapes that draw the listener into a faintly medieval, quasi-Celtic world of echoes and promises, passions and rain.”
Meanwhile, Slut Cone took a more pastoral view:
“Music for summer corn fields… Avicenna brings out the pre-Raphaelite in you.”
Whether heard as a spiritual invocation, a medieval soundscape, or simply an atmospheric dream, Avicenna encapsulates Ardor’s ability to evoke beauty beyond literal meaning—where lyrics, music, and mood intertwine into something greater than the sum of their parts.
A Collaborative Journey: Love Spirals Downwards and Projekt Records
During the Ardor era, Love Spirals Downwards became deeply involved in Projekt Records’ artistic community, forging creative connections with label founder Sam Rosenthal and other musicians in the ethereal and darkwave scenes. These collaborations expanded their sonic palette, led to reinterpretations of influential songs, and helped shape Of These Reminders, Projekt’s ambitious 1994 tribute album.
One of the earliest collaborations came in 1993, when Ryan Lum contributed guitar work to Black Tape for a Blue Girl’s This Lush Garden Within. His atmospheric layering on the song “Overwhelmed, Beneath Me” blended seamlessly with Rosenthal’s introspective sound, offering a glimpse into the evolving sonic textures that would later shape Ardor. This mutual appreciation led to further collaboration when Love Spirals Downwards recorded a reimagined version of Black Tape for a Blue Girl’s “Tear Love From My Mind” for Ardor. Instead of replicating the original’s synth-driven melancholy, Lum stripped the track down to a delicate acoustic arrangement, allowing Suzanne Perry’s emotive vocals to take center stage.
Their creative exchange didn’t end there. In a 1993 letter, Rosenthal recalled how a conversation with Lum unexpectedly sparked the idea for a full Projekt tribute album:
“Was talking with Ryan (of Love Spirals Downwards). He said they are toying with a cover version of a Black Tape for a Blue Girl song. We began shooting ideas back and forth, and one of us hit upon the idea of doing a ‘cover CD’ with other bands performing my songs. Since it sounds like an ego-centric concept, I like to say it was RYAN’S IDEA!”
That idea became Of These Reminders, a two-disc collection of Black Tape for a Blue Girl covers by Projekt artists and other like-minded musicians. Love Spirals Downwards contributed two additional reinterpretations—“Through Sky Blue Rooms” and “Could I Stay the Honest One?”—which, unlike “Tear Love From My Mind,” remained exclusive to the compilation. Perry and Lum reflected on their experiences with the covers in a 1994 Fond Affexxions interview:
Ryan: “We did a total of three Black Tape covers; two for the Of These Reminders compilation and one for our album.”
Suzanne: “And the reason we ended up doing three covers is because it was so easy for us! We labor over our songs so much, so to have everything already made — no lyrics to write, no vocal parts to invent, and no music to compose, except an interpretation — it was like [snaps fingers] cake!”
Ryan: “Yeah, and it was fun, too, actually.”
While balancing collaborative projects, Love Spirals Downwards remained focused on completing their own album. The demands of creating Ardor coincided with their contributions to Of These Reminders, as reflected in a 1994 band newsletter:
“We have been busy finishing our upcoming, not-yet-titled second CD. After about a year and a half, it’s finally finished! As it currently stands, Projekt Records should be releasing it sometime in September. We’ve also completed two new tracks for the upcoming Projekt release Of These Reminders, a collection of various artists’ interpretations of Black Tape For A Blue Girl songs. Artists contributing to this double-CD compilation include labelmates lovesliescrushing, Lycia, Soul Whirling Somewhere, and Sunwheel, as well as others such as Stoa, Human Drama, and Attrition. This should be out sometime in August.”
heir collaborative spirit extended beyond Of These Reminders. Lum and Perry also recorded a version of “Welcome Christmas” from How the Grinch Stole Christmas for Projekt’s holiday-themed compilation Excelsis ~ A Dark Noel, released for the 1995 holiday season. Their jangly dream pop cover retained the shimmering textures of their Ardor-era sound, contrasting with the more ambient direction they would take on their third album, Ever, released in 1996.
Years later, the song’s charm and unique interpretation continued to resonate with listeners. This enduring impact was highlighted in a 2023 episode of the Noisextra podcast, where hosts Mike and Tara Connolly shared their admiration for Love Spirals Downwards’ rendition:
Mike Connolly: “Definitely my favorite song, and one of my favorite Projekt bands, Love Spirals Downwards. ‘Welcome Christmas.’ The Grinch Who Stole Christmas song. I love how slowed down this gets, and I love her voice doing it. To me, I only think of this song as this version. I don’t even think of it as from The Grinch.”
Tara Connolly: “Yeah, it’s a great one. This is right in that perfect pocket of sweetness and darkness. It’s dreamy, it’s drowsy, and the clear-as-a-bell female voice—I find this just uber satisfying to listen to.”
Mike Connolly: “Yeah, I love Love Spirals Downwards. I think all their Projekt records are fantastic! But yeah, this is such a great brightly dark track. Absolutely love this one.”
This kind of creative exchange exemplified the interconnected nature of the label, where artists not only released albums but actively collaborated across various projects. Ardor emerged not only as a continuation of Love Spirals Downwards’ evolution but also as a reflection of the creative exchange that defined the ethereal wave scene of the 1990s.
Expanding Horizons – Hyperium and the European Connection
While Projekt provided a home for Love Spirals Downwards in the U.S., their music also found an audience overseas thanks to a partnership between Projekt and the German label Hyperium Records. Beginning in the early 1990s, Hyperium co-released key Projekt albums for the European market, including their debut, Idylls (1992), and sophomore album, Ardor (1994). This collaboration led to Love Spirals Downwards becoming a recurring presence on Hyperium’s influential compilation series.
Heavenly Voices – The Series That Became A Genre
The inaugural Heavenly Voices compilation was a two-CD set released in 1993, available both as a limited edition boxed set and as separate single-disc editions (Part 1 and Part 2). Love Spirals Downwards contributed an extended mix of “Love’s Labour’s Lost”, marking their debut in the series.
The following year, Hyperium’s French distribution partner, Semantic, released another compilation under the same name—Heavenly Voices (1994). This 10-track collection featured “And the Wood Comes Into Leaf” from Idylls, alongside tracks from Love Is Colder Than Death, Stoa, Black Tape for a Blue Girl, and Chandeen.
By 1995, Love Spirals Downwards had become a staple of the series. Heavenly Voices III opened with their song “Write in Water.” According to the band newsletter, this track had been sent to Hyperium before Ardor was even released. This 18-track collection also included artists such as Bel Canto, Chandeen, Faith and the Muse, Stoa, Miranda Sex Garden, Love Is Colder Than Death, This Ascension, and Faith and Disease.
The series was became so synonymous with female fronted ethereal darkwave, goth, neo-classical, and related genres featured on the Hyperium collections, that it became its own a posteriori sub-genre .
Beyond Heavenly Voices – Hyperium’s Other Samplers
In addition to Heavenly Voices, Hyperium released several Projekt-themed samplers, further amplifying Love Spirals Downwards’ reach in Europe.
• Beneath the Icy Floe – A Projekt Sampler (1995) – Ardor’s track “Avincenna” opened this compilation CD, which also featured Lycia, lovesliescrushing, Black Tape for a Blue Girl, Soul Whirling Somewhere, and Thanatos. The album also included “This Endris Night” from Idylls, offering European listeners a broader introduction to the band’s evolving sound.
• Zauber of Music Vol. II (1995) – A co-release between Hyperium and EMI Electrola, this compilation CD included “Avincenna” alongside tracks by Stoa, Love Is Colder Than Death, Chandeen, Sleeping Dogs Wake, Eden, Attrition, Lycia, Black Tape for a Blue Girl, and Eleven Shadows.
By collaborating with both Projekt and Hyperium, Love Spirals Downwards positioned themselves at the heart of the international ethereal wave and dream pop scenes, gaining listeners far beyond their U.S. base.
From Studio to Stage: Love Spirals Downwards’ Reluctant Leap into Live Performance
For a band that thrived in the layered confines of the studio, stepping onto the stage was a leap into the unknown. Ryan Lum and Suzanne Perry had built Love Spirals Downwards as a deeply personal, two-person project, recording intricate, multi-layered tracks that seemed impossible to replicate live. Add to that their demanding academic schedules and the idea of touring felt like an impractical fantasy.
In a 1993 interview with Tear Down the Sky, Lum rejected the “rock and roll myth” that bands were required to play live, stating:
“We don’t have the time and we don’t care for the rock and roll myth — ‘rule one: a band must play live.’ Neither of us have any intention of quitting school to be band junkies. Not right now.”
Perry, however, remained cautiously open to the possibility. That same year, she admitted in Fond Affexxions:
“People are asking me, ‘Would you play live?’ We kind of figure the amount of effort we put into it, we want to get out of it. Right now it would be hard. Maybe if we had more time it would be worth it. I mean, I’m not against it, I think it would be fun.”
But even as interest in their music grew, Lum continued to express doubts. In a 1995 interview with Danse Macabre, he pointed out the challenges of recreating their layered sound without additional musicians:
“We’d have to get a whole new concept of ‘working together.’ We’d have to practice and rehearse things. None of that ever happens; we never practice.”
For Perry, the prospect of singing live — without the comfort of layered studio vocals — was equally daunting:
“I don’t know if I’ve ever sat down and sang any of our songs from beginning to end, and that’s sort of frightening.”
Yet something shifted in 1995. While Perry’s nerves persisted, her desire to connect with fans began to outweigh her reservations. She even gave Projekt promoter Pat Ogle the green light to start planning a tour, telling Ink Spots:
“The thing is, I wanna do it, but Ryan’s kinda dragging his feet on it, so I figured if I told Pat we would do it, and then he sent out a letter, then we’d do it.”
Despite Lum’s lingering uncertainty, the band took the plunge. Acoustic rehearsals began, and soon after, their first live shows were on the horizon. For Love Spirals Downwards, the decision to perform was more than a test of their musical abilities — it was a brave step toward forging a deeper connection with their audience.
Finding Their Footing: Love Spirals Downwards’ Early Performances
When Love Spirals Downwards finally took the leap into live performance in 1995, the experience proved both exhilarating and demanding. Without a full band to replicate the intricate, multi-layered sound of their recordings, Ryan Lum and Suzanne Perry opted for stripped-down acoustic sets, with Lum on guitar and Perry’s ethereal voice taking center stage.
Performing live was an entirely new challenge for a band that had built its reputation as a studio project. Reflecting on the difference between recording and performing, Lum told Black Moon in 1996:
“Live is very focused. It’s just me on acoustic guitar and Suzanne singing. We try to play all the songs very emotionally. It’s a very powerful thing. When we record it’s very different. We have all kinds of options, we do all kinds of crazy things. We lay down different instruments, harmonies, and weird guitar sounds. Live is very simple and very powerful. It’s hard to compare the two. Some things are impossible to do live.”
Their live debut took place on June 9, 1995, at The Crocodile in Seattle, WA, alongside Faith & Disease and Trance to the Sun. Following the tour, they played two performances at The Troubadour in Los Angeles, including a September show with Faith & Disease and Trance to the Sun, and a December performance with Human Drama. Encouraged by the response, they embarked on a short East Coast acoustic tour, promoted by Pat Ogle from Projekt Records:
- 8/31/1995 – TT the Bear’s, Boston, MA
- 9/1/1995 – Asylum, Philadelphia, PA
- 9/2/1995 – Batcave, New York, NY
However, their most striking live experience came in February 1996 when they performed in Mexico City at Museo Universitario del Chopo, facing an audience of 1,200 people — a dramatic contrast to the smaller club venues of their earlier shows.
Ryan: “They treated us really good. They showed us some great sights. They took us to fun places, too.”
Suzanne: “They were nice. They promote your show until you collapse.”
Ryan: “The three days before the show we did so much stuff. We did so many interviews for the press, television, etc. We had a press conference at the venue. We were on their national morning talk show.”
This whirlwind of promotion and attention was a far cry from their usual reclusive studio life. Yet despite the nerves and pressure, Lum and Perry began to settle into the rhythm of performing. When asked if playing live had become easier over time, Lum remained hesitant:
Ryan: “I don’t know if it got easier to do.”
Perry, however, noticed a change:
Suzanne: “It’s more natural now. It’s still hard, in some ways harder. When you play live and you screw up, it is an experience.”
The unpredictability of live performance added a layer of vulnerability that wasn’t present in the controlled environment of the studio. Even for a seasoned performer, nerves were unavoidable. Lum reflected on this shared experience, referencing one of his musical idols:
Ryan: “Even Jerry Garcia, up to the end, used to get nervous before shows.”
Though the duo was often associated with Projekt’s darkwave and ethereal roster, Lum observed that their live audiences were more diverse than one might expect:
Ryan: “Some people might not even like our music but they know of us because of our association with Projekt. I think that the people that truly like our music, for the most part, don’t tend to be gothic. I say that based on going out to play our shows. We get all kinds of people to our shows. I like that.”
Their growing confidence and willingness to embrace the unknown would soon culminate in one of their most memorable performances — headlining the opening night of the inaugural Projekt Festival in Chicago. For a band that once questioned whether they belonged on a stage at all, the journey from apprehension to applause was nothing short of remarkable.
A Landmark Moment: Love Spirals Downwards at Projekt Festival 1996
By mid-1996, Love Spirals Downwards had grown into a more confident live act. What had once seemed daunting was now an opportunity — not just to perform, but to connect with their audience in a way that wasn’t possible from the confines of the studio. This newfound confidence set the stage for one of their most memorable performances: headlining the opening night of the inaugural Projekt Festival.
Held on June 25, 1996, at The Vic Theater in Chicago, the festival celebrated the success of Projekt Records and brought together some of the label’s most beloved artists. Sharing the bill with labelmates like Steve Roach, Lycia, Thanatos, and Soul Whirling Somewhere, Love Spirals Downwards’ set was a standout moment. As Projekt’s best-selling act, they had become one of the label’s defining voices, with their lush, atmospheric sound capturing listeners well beyond the gothic and ethereal scenes.
Morbid Outlook’s Jon DeRosa praised their performance:
“Suzanne Perry sings in such a way that if you close your eyes, you forget everything; where you are, what you’re doing, what planet you’re on, etc. Her voice was dazzling, and their sound seemed surprisingly warm and huge, despite the absence of synthesizers. Ryan strummed and picked away as Suzanne cascaded through song after song until the evening was over.”
For Lum and Perry, the experience marked a culmination of their growth as live performers. Despite their early fears, their stripped-down acoustic arrangements resonated with audiences, proving that the emotional core of their music remained powerful even without the studio’s layered textures.
The performance also underscored the close-knit atmosphere of the Projekt community. Unlike traditional festivals, ProjektFest fostered a sense of connection between performers and attendees. Alternative Press highlighted the camaraderie:
“Band members hung out in the audience to hear the other bands and talk to fans. Performers and audience were unified through the music.”
Perry recalled the warmth of the event, describing it as a reunion of sorts:
“I felt like it was a gathering of old friends from all across the country.”
For Projekt Records founder Sam Rosenthal, the festival was both a celebration of the label’s achievements and a reflection of its uniquely supportive scene. The Chicago Tribune captured the festival’s significance:
“Projekt’s best-selling band, Love Spirals Downward, sells about 10,000 CDs per release. The Projekt Festival, the first of its kind for the label, will feature a buffet of bands, but Rosenthal’s honest about how scary it is for him.”
Though ProjektFest 1996 was a milestone for the label, it was also a personal triumph for Love Spirals Downwards. Their set at The Vic Theater proved that the duo had successfully navigated the transition from studio to stage.
Additional 1996 Performances
Following their Projekt Festival performance, Love Spirals Downwards continued to make select live appearances. On August 9, 1996, they played Dark’s Art Parlour in North Hollywood with Sean Bowley of Eden, and later that month they performed at Big Heart City in San Francisco.
The band also made a November appearance on Irvine’s KUCI 88.9 show, Ned’s Atomic Dustbin, performing live in studio followed by an interview with host, Ned Raggett. This was the first of several appearances Lum would make at the college radio station, with and without Perry, over the following years.
One of their most notable performances from this period was their Echoes Living Room Concert, recorded on November 14, 1996, and broadcast internationally on December 13, 1996. The session was part of the long-running Echoes radio program, which specialized in ambient, ethereal, and dreamlike music. The Echoes Living Room Concert provided a uniquely intimate showcase of the duo performing in their own home studio.
Reflections on the Live Experience
Initially, the idea of performing live seemed daunting. In an Ink Spots (April 1995) interview, Perry worried, “I’m thinking we might be boring…” while Lum joked, “Maybe if we do it, I’ll be really surprised that people won’t be yawning or throwing beer cans at us or something.”
Yet, as the performances unfolded, those fears faded. Audiences responded with enthusiasm, captivated by the intimacy of their arrangements. In their November 1995 band newsletter, Lum reflected:
“Much to our surprise, we had a great time doing these shows. It was especially nice to meet some of you who write us! We hope to do more next year.”
Their Projekt Festival performance reinforced this newfound appreciation for live interaction. Alternative Press highlighted the closeness between performers and fans:
“Band members hung out in the audience to hear the other bands and talk to fans. Performers and audience were unified through the music.”
For Perry, the experience was deeply personal:
“I felt like it was a gathering of old friends from all across the country.”
Despite their initial reluctance, Love Spirals Downwards discovered something special in their live performances—not just in the music itself, but in the connections forged with listeners. Their rare concerts became immersive experiences, proving that their music wasn’t confined to studio layers but thrived in shared moments of sound and emotion. As UnderScope Magazine aptly put it:
“Anyone who narrow-mindedly accuses them of being simply studio musicians needs to be taken out back and whupped good.”
Critical Reception and Support
Upon its release, Ardor was celebrated by critics for its lush soundscapes and emotional resonance. B-Side Magazine wrote:
“Romance! Despair! Trauma! Suzanne Perry and Ryan Lum once again create a world without boundaries, taking in subtle sounds and sharp senses, morphing them into music and presenting them back for our listening pleasure. Seductive and sad, full of longing and lust… Like visiting ancient ruins on a sunny day, Ardor captures your imagination. My suggestion: surrender to them.”
Other reviewers echoed this sentiment:
- Carpe Noctem: It is not often that a band reaches cult status with only one album behind them. California’s ethereal duo of vocalist Suzanne Perry and multi-instrumentalist Ryan Lum achieved that feat in their debut “Idylls,” and have proven that it was no fluke with their sophomore effort “Ardor,” which beautifully details the very meaning of the word itself.
- Pandemonium: “Their debut, Idylls, enchanted critics and audiences alike with haunting ethereal vocals and darkly swirling guitars, and Ardor is equally impressive. Ryan Lum weaves the textures and atmospheres above which Suzanne Perry’s vocals serenely float, wordlessly evoking a dreamy otherworld of bliss. This time, the aura’s slightly brighter, as if a single ray of sun has pierced Spiral’s darkness. There’s a bittersweet feel to Ardor, as the soothing vocals play against the melancholy music.”
- Dark Angel: “The second wave of aural resplendence from the lean duo of vocalist Suzanne Perry and guitar necromancer Ryan Lum far surpasses “Idylls” in its intensity of focus, and leans less toward their initially more Eastern echoes. Perry and Lum have obviously honed their skills for interpreting yet-undreamed of musical dreams. A signature Projekt artist, Love Spirals Downward abounds in quality pastoral bliss.”
- Music from the Empty Quarter: “Suzanne Perry’s heavenly vocals mix with a lushly produced backdrop of melody and ambience for fifty gorgeous minutes of sound. This is simply introspective, intelligent ‘pop’ (and I use the word reservedly) having more than a hint of sadness buried within it. Exquisite.”
- Bizarre: “Sumptuous acoustics with fragile female harmonic voices taking us to heaven, To truly appreclate this album just close your eyes and get enveloped in all its beauty.”
- The Orange County Register: “Soaringly romantic and hauntingly brooding, Ardor practically celebrates an elegant brand of Euro-cool.”
Justin Elswick of Sleep Thief, who later collaborated with Suzanne Perry in 2010 said of the reissued release:
“I first heard LSD when I was a sophomore in college. Ardor instantly blew me away with its incredibly lush production and combination of washed guitars and gorgeous female vocals. I don’t think that a week has gone by in my life where I have NOT listened to this album and it has been years. There is something ancient and haunted in this music.”
Songs from Ardor featured prominently on several influential compilations, such as 50 Years of Sunshine (1993), Heavenly Voices Part 2 (1994), From Across This Gray Land No. 4 (1994), and Heavenly Voices III (1995). These appearances played a pivotal role in broadening the band’s audience and solidifying their status within the ethereal and dream pop genres.
Even decades later, Ardor continued to earn recognition, with tracks included on the retrospective compilations, Projekt 100: The Early Years, 1985 to 1995 (2000) and Projekt200 (2007), reaffirming the album’s significance within the Projekt Records catalog.
In 2007, Projekt Records celebrated the album’s enduring influence by releasing an expanded edition of Ardor, remastered by Ryan Lum to enhance its sonic clarity and further highlight its lasting legacy.
A Turning Point in Sound: The Legacy of Ardor
With Ardor, Love Spirals Downwards solidified their reputation as innovators in ethereal music, blending literary and philosophical influences with lush production and heartfelt performances. The album’s balance of personal introspection and sonic experimentation continues to captivate listeners, ensuring its enduring legacy in the realms of dream pop and ambient music. As All Music Guide noted:
“On Ardor, Love Spirals Downwards begin a shift toward more ambient tunes, a natural evolution for a duo unafraid to explore new directions. The gritty dream pop guitar is still in the mix, although one can sense the subtle shift to the less studio-based sound that would come with Ever.”
This subtle shift towards more ambient textures, coupled with the band’s exploration of looping and vocal layering hinted at in tracks like “Sunset Bell,” paved the way for their next album, Ever. Released in 1996, Ever would further explore these sonic territories, showcasing a more prominent ambient and electronic influence in their ethereal soundscapes. Decades after its release, Ardor remains a defining statement in ethereal wave, bridging introspection, myth, and sonic experimentation, and its influence can still be heard in modern dream pop and ambient music.