Love Spirals Downwards’ Ardor (1994) is a landmark in ethereal wave music, fusing introspective lyricism, mythological depth, and richly textured soundscapes into a cohesive and captivating whole. Following the success of their debut Idylls (1992), Suzanne Perry and Ryan Lum refined their creative vision, pushing their artistic boundaries to incorporate elements of shoegaze, ambient experimentation, and personal storytelling. 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 Industrial Nation as “the second wave of aural resplendence” and 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 giving it a more exploratory and spontaneous feel. In contrast, Ardor was crafted with a clearer sonic vision, resulting in a more cohesive and refined sound. In a 1994 Projekt interview cassette, Lum reflected on this shift:
“Our first album, Idylls, 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—not all of them, maybe half the songs 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 gothic, trance, and Middle Eastern influences in an organic, freeform way, Ardor built upon that foundation with a more intentional approach. The Projekt press release noted this evolution, describing Ardor as “blissful and uplifting,” in contrast to the “slightly darker, almost Eastern” tones of their debut.
Another key difference was Lum’s growth as a producer. With two more years of experience following Idylls, he refined his approach to recording, mixing, and layering sound. This allowed Ardor to sound more expansive and immersive while maintaining the dreamlike qualities that defined Love Spirals Downwards.
Expanding the Sonic Palette: Shoegaze & Experimental Influences
Beyond refining his production skills, Lum also drew new inspiration from the shoegaze and experimental scenes of the early ’90s. Inspired by bands like Slowdive and Seefeel, he expanded Love Spirals Downwards’ sonic landscape with intricate guitar layering, ambient atmospheres, and hypnotic loops. In a 1995 interview, Lum cited Seefeel as a significant 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.”
This influence is evident on tracks like “Will You Fade” and “Write in Water,” where cascading guitars and lush production amplify the emotional intensity of Perry’s vocals. Lum’s evolving approach to ambient composition shines on instrumental pieces like “Mirrors a Still Sky” and “I Could Find It Only By Chance.” The former recalls the ethereal majesty of their 1991 compilation cut, “Mediterranea,” while the latter layers a simple, wordless vocal melody over dreamy, textured guitars, expanding on the atmospheric qualities of Idylls.
Even more traditional songs like “Subsequently” showcase Lum’s ability to blend influences seamlessly. The track balances medieval-inspired guitar work with a lyrical solo reminiscent of Jerry Garcia’s improvisational style. Meanwhile, Perry’s “make-believe” Italian-sounding lyrics recall her glossolalia from Idylls, adding another layer of abstraction to the track.
Perry reflected on her unconventional lyrical approach in Carpe Noctem:
“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. There are definitely more actual words on Ardor.”
A Glimpse into the Future: Hints of Ever
Some of the experimental techniques explored on Ardor would later become defining elements of Ever (1996). The looping techniques Lum admired in Seefeel found their way into “Sunset Bell,” one of Ardor’s most unique tracks. Inspired by Seefeel’s innovative use of repetition, the song features improvised vocal loops from guest artist Jennifer Ryan Fuller, which Lum transformed into hypnotic, meditative layers. Fuller described the track’s origins on her personal blog:
“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.”
Lum commented on “Sunset Bell” in Fond Affexxions:
“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 early experimentation with looping and vocal layering would become more prominent on Ever, where Love Spirals Downwards leaned further into ambient and electronic influences. In retrospect, Ardor stands as a bridge between the dreamlike intimacy of Idylls and the more expansive, electronically-infused textures of Ever. Yet as the music became more intentional, so did Perry’s lyrical approach. Her writing evolved alongside the sonic progression, incorporating more discernible English lyrics while still retaining her signature dreamlike abstraction.
Lyrical Themes: Personal, Poetic, & Mythological
Suzanne Perry’s lyrics on Ardor reflect a striking evolution from the abstract glossolalia and medieval inspirations of Idylls. While she continues to use invented languages and poetic fragments, her writing incorporates more discernible English lyrics, fostering a new level of emotional intimacy.
“Write in Water” exemplifies this shift, drawing its title from John Keats’ epitaph—“Here lies One Whose Name was writ in Water”—to explore themes of impermanence and spiritual transience. Opening with the Middle English-inspired line “My lief es far en londe” (“My love is far away”), the song combines imagery of fire, sand, and the sea to evoke longing and the ephemeral nature of life. Perry reflected on the subconscious depth of the track in a 1995 interview with The Ninth Wave:
“The song “Write in Water” has so many different subconscious levels, and I spent so little time even planning it. I have a really serious time experiencing it, and listening to it, that’s when it’s strongest for me. 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.”
Lum contributed:
“That adds to the fantasy of our music, it’s different from ordinary experience.”
A collaboration with Jennifer Ryan Fuller, “Depression Glass” pairs Perry’s ethereal vocals with Fuller’s in a poetic reflection on love and loss, penned by Fuller:
“I journey to the valley of the moon / Driven forward by brilliant shafts of light / Half crazed from lack of love I swoon / And cry your name into the cold dark night”
This poetic reflection on love and loss is accompanied by references to mythology and mystical traditions.
The title of “Kykeon” references the sacred drink used in the Eleusinian Mysteries of ancient Greece, rituals believed to grant initiates transformative understanding of life and death. Inspired by Kahlil Gibran’s On Crime and Punishment, its lyrics explore guilt, redemption, and self-awareness. Gibran’s line, “Unbidden shall it call in the night, that men may wake and gaze upon themselves,” was amended slightly to become:
“Unbidden shall it call in the night and gaze upon themselves.”
“Avincenna” incorporates lines inspired by Psalm 119: “Teach me, O Lord, the way of thy statutes; and I will keep it to the end.” The track transforms these ancient words into a prayer-like plea, mirroring the duo’s fascination with devotional and mystical traditions.
“Teach me all of Thy ways, Lord /Statutes and I shall heed / Heal me and I shall heed Thy laws / Show me”
Even in its most personal moments, Ardor retains its connection to nature and transcendence. On “Will You Fade,” Perry reflects on emotional disconnection, pairing existential yearning with the metaphorical cracking of ice:
“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.”
By blending mythology, nature, and introspection, Ardor preserves the dreamlike abstraction that defines Love Spirals Downwards, drawing listeners into its immersive, multifaceted world
A Collaborative Journey: Love Spirals Downwards and Projekt Records
This fusion of mythology, nature, and personal reflection not only shaped Ardor’s unique aesthetic but also positioned Love Spirals Downwards within a broader creative network. During this period, Lum and Perry’s collaborations with Projekt Records artists expanded their artistic horizons, leading to memorable reinterpretations and cross-genre exchanges.
One notable collaboration during this time was Ryan Lum’s contribution to Black Tape for a Blue Girl. In 1993, Lum provided guitar work for Sam Rosenthal’s track “Overwhelmed, Beneath Me” on the album This Lush Garden Within, which featured vocalist Lucian Casselman. The atmospheric layering of Lum’s guitar complemented Rosenthal’s introspective sound, offering a glimpse into the expanding sonic palette Lum would explore on Ardor.
Their collaboration continued in a meaningful way. When Love Spirals Downwards returned to the studio, they recorded a haunting rendition of Rosenthal’s Black Tape For A Blue Girl song, “Tear Love From My Mind,” for inclusion on Ardor. Rather than simply recreating the original’s synth-heavy melancholy, Lum reimagined the track through a delicate acoustic lens, pairing Perry’s emotive vocals with a sparse and shimmering guitar arrangement.
Their creative exchange didn’t end there. Lum and Perry also recorded two additional Black Tape for a Blue Girl covers—“Could I Stay the Honest One?” and “Through Sky Blue Rooms”—for the Of These Reminders boxed-set compilation released by Projekt Records in late 1994. Unlike “Tear Love From My Mind,” which found a permanent home on Ardor, these covers were exclusive to the compilation, further cementing the duo’s bond with Projekt’s artistic circle.
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.”
Additionally, the duo recorded a version of “Welcome Christmas” from the classic Dr. Seuss animated film The Grinch Who Stole Christmas for a holiday themed Projekt compilation album called Excelsis ~ A Dark Noel. Released in 1995, a year after Ardor, their jangly dream pop cover retained the sonic characteristics of their 1994 work, contrasting with the more ambient textures of 1996’s Ever. In a 2023 episode of the Noisextra podcast, a show dedicated to industrial and darkwave music, hosts Mike and Tara Connolly praised Love Spirals Downwards’ rendition of “Welcome Christmas,” highlighting its enduring impact.
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.”
Tera Connolly “Yeah, it’s a great one. When everyone comes together… Even not knowing that, 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 layered approach to collaboration and reinterpretation highlights the interconnected spirit of the Projekt Records community. Through their work with Rosenthal and their own experimentation, Lum and Perry further expanded their artistic horizons. 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.
From Studio to Stage: Love Spirals Downwards’ Live Debut
Despite being Projekt’s top artist, Love Spirals Downwards, had never performed live prior to Ardor’s release. As a studio-based project, the band had always relied on multi-tracked vocal layering and intricate production, making live performances daunting.
For Suzanne Perry, adapting her studio approach to the stage was a challenge. In a Carpe Noctem interview (July 1995), she admitted:
“We’ve been doing a little rehearsing for maybe playing live – perhaps doing some acoustic stuff – I’m finding it really difficult to sing them live because I can’t get a breath or anything. I’m so used to layering and not having to worry about it. Our stuff is so NOT written to be played live.”
Ryan Lum also valued the mystique of avoiding live shows, telling B-Sides Magazine (May 1995):
“Not having a video or playing live preserves the mystery, and that’s powerful. That’s what’s satisfying about having the CD. ‘Here; just listen to it and make your own philosophy.’”
Yet despite their hesitations, in 1995, they finally took the plunge.
1995: The First Live Performances
Their live debut took place on June 9, 1995, at The Crocodile in Seattle, WA, alongside Faith & Disease and Trance to the Sun. 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
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. They also made their international debut on February 29, 1996, at Museo Universitario del Chopo in Mexico City, where they performed with local band, La Divina Comedia.
Projekt Festival 1996: A Landmark Performance
The defining moment of their live career came on June 25, 1996, when they headlined the first night of the inaugural Projekt Festival at The Vic Theater in Chicago, IL. Sharing the stage with Projekt’s finest—Steve Roach, Lycia, Thanatos, and Soul Whirling Somewhere—their performance was met with overwhelming praise. Morbid Outlook’s Jon DeRosa described:
“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.”
The Chicago Tribune underscored their status, noting:
“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.”
Setlists and Special Performances
Their live sets included tracks from Idylls (“Scatter January,” “And The Wood Comes Into Leaf,” “Love’s Labour’s Lost”) and Ardor (“Write in Water,” “Will You Fade,” “Subsequently,” “Kykeon”). They also performed Across This Gray Land 3’s “Mediterranea” and as the year progressed, the duo previewed new songs from Ever, including “Lieberflusse” and “Above the Lone.”
Occasionally, they incorporated covers such as “Visions of LA” (Slowdive), “Tear Love From My Mind” (Black Tape for a Blue Girl), and “Mercy” (Mojave 3).
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:
- 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.”
- 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.