In recent years, progressive instrumental rock and metal have captured the imagination of young musicians and fans worldwide. Among these musicians, Lucien Li has distinguished himself with his unique style and voice. His latest single, Abyss, showcases his technical proficiency and compositional vision while raising discussions about the balance between technique, emotion and commercialisation in progressive music.
The title Abyss and the single artwork call to mind imagery of dark, unfathomable depths, drawing from ancient cosmogonies where the abyss is seen as the chaotic origin of all things. Much like these primordial realms, the song projects a sense of both devastation and creation. In this way, Abyss becomes a metaphorical exploration of creation and chaos, a space where disparate influences converge and evolve into something entirely new.
Lucien Li – Abyss (feat. Lzery)
As a progressive rock musician, comparisons to Polyphia are almost inevitable, given the genre’s focus on technical guitar work and electronic music. However, unlike bands like Polyphia, Lucien Li works as an independent solo artist. This difference naturally impacts certain aspects of his music, such as the dynamics of drum and bass performances, which in Abyss stand out in notable ways because most parts of the song are programmed rather than recorded live. While this can make the music feel less “human” compared to live-band recordings, Abyss focuses more on creating a cleaner, electronically influenced sound. By employing synthesizers and electronic music production, Lucien Li creates a sound distinct from conventional rock bands.
For instance, instead of using traditional drum and bass, Abyss utilises 808 bass tones, which are more commonly found in electronic and trap music. Lucien Li pushes this idea further by spanning three octaves in his 808 basslines, rather than limiting it to a single octave. The bassline starts in the lowest octave during the introduction, evolves to harmonise with the guitar in mid-range frequencies, and occasionally incorporates slides into higher octaves. These details add dynamics to the low-end, compensating for the absence of live instrumentation. This choice contributes to a cleaner, synthetic aesthetic that differs from the “organic” feel of live band recordings.
The structure of Abyss also deviates from conventional verse-chorus arrangements. Instead, it includes a quieter transition in the middle, characterised by an interlude (featuring Lzery) that contrasts clean tones with the overdriven guitar motifs that follow. The interlude’s evolving complexity and the return of Lucien Li’s guitar parts add an element of surprise and excitement to the track. While this approach might lack the emotional highs or climactic build-ups found in conventional music, the transition from soft clean tones to heavier, overdriven guitar creates a dynamic contrast.
One critique of Abyss lies in its perceived uncertainty, as it blends rock music with elements of hip-hop and electronic music. To some extent, this might make listeners feel that the track sits uneasily between mainstream accessibility and technical exploration. The heavy use of pop music elements and the lack of traditional guitar techniques, such as string bending, may lead some guitarists or traditional rock music audiences to conclude that the piece lacks emotion. As a guitarist, his choice to borrow elements from pop music culture sparks debate: does it reflect a compromise for the sake of marketing and promotion, or does it represent his genuine aesthetic vision? Regardless, this blend demonstrates a careful balance between complexity and accessibility. It proves that progressive music can be both intricate and inclusive.
Lucien Li’s current work reflects deliberate choices about when to simplify and when to emphasise complexity. As a skilled guitarist and composer, he has the ability to take the experimentation in his music further. However, if Lucien were to push his music to the absolute limit of complexity, it might not align with the kind of music he wishes to deliver. In Abyss, he has successfully found the ideal balance between mainstream appeal and experimentation, creating a form of progressive rock that engages and resonates with a wider audience, rather than catering solely to professional musicians.
We caught up with Lucien Li to discuss his approach as a progressive music artist, his creative process, and how he sees himself in the future.
What does your creative process look like when composing music?
Lucien Li: It usually starts with an idea of what kind of music I want to create for the piece. For Abyss, the elements of trap music guided the entire process. I started by creating a track with a synth sound, writing the arpeggios and the chord progression. I then moved into expanding the backing track and the full production. I also spend a lot of time programming the rhythm section before pulling out my guitar to play along with the track. Finally, I edit the production details to cater to the guitar composition.
You’ve been compared to Polyphia, especially because of the genre’s technical nature. How do you view those comparisons?
Lucien Li: I take it as a compliment, because I’ve always looked up to them. But I also aim to carve out my own style. Unlike a full band, I work independently, which gives me freedom but also presents challenges, particularly with the dynamics. Abyss is actually part of an indispensable attempt at developing my own genre.
When you were writing Abyss, did you consider that it should be heard by more people, so you sacrificed the real idea and aesthetic in your mind?
Lucien Li: No, not at all. It’s just the sound in my head. I simply wrote out what was already there. When I write songs, I don’t necessarily consider what people might like or not, whatever music I’m writing, it’s always my music and the message I want to convey.
How do you see your music evolving in the future?
Lucien Li: I think my music will continue to combine influences from various genres like jazz and math rock, and I’m also interested in exploring more live elements, like piano and bass. While I enjoy the precision of programming and electronic production, there’s something special about the possibility of live performances that I’d like to capture in my future projects.