IN CONVERSATION WITH BLAKE LEE

Interview by Samo Šajn

Blake Lee is a Los Angeles-based composer and guitarist, best known for his work with Lana Del Rey. His debut solo album, No Sound in Space, explores the vast themes of the cosmos through cinematic soundscapes and emotive melodies. Blending ambient textures and experimental sounds, Blake creates a unique, introspective sonic experience.

Your album, No Sound in Space, draws heavily on themes of isolation and mystery inspired by space. What is it about the cosmos that resonates so deeply with your creative process?

The unknown is inspiring because it allows you to bring your own imagination to the table and fill the void. I’d say I’m naturally drawn to things that sound a bit alien or unexpected. It wasn’t an intention for the record to be ‘on the nose’ as a space record. I’ve always felt a pull to look up in a world that seems to have lost that wonder and is busy looking down.

You’ve mentioned Stanley Kubrick’s 2001: A Space Odyssey as a major influence. How did that cinematic masterpiece inform the mood and tone of your music on this album?

I went to see 2001 in theatres a few years ago when Christopher Nolan helped restore it for a 70mm IMAX presentation, and it was incredibly stunning. The quality looked better than anything being released today.
The way Kubrick builds tension in all his films is a major influence; especially his choice of the choral works of György Ligeti as well as the contrast of the Johann Strauss pieces—all while being paired with the beautiful, slow, and captivating cinematography. I also resonate with the use of silence in the film and the use of noise to help create a sense of immersion.

You’ve described using your guitar as a “sonic paintbrush” rather than adhering to its traditional aesthetic. Can you elaborate on how this approach shaped the album’s unique soundscapes?

I tend to approach everything that way. Instruments are tools that can be used to make sounds, especially when treating and obscuring them with different pedals and techniques. Guitar is my primary instrument, so that kind of sonic sculpting and manipulating is very much on display on this record. I do play other instruments and try to approach them the same way to help further and maintain my own exploration and curiosity.

Your collaboration with KMRU seems to have been both organic and transformative. What was it like blending your ideas with his, and how did that shape tracks like ‘Miura’ and ‘Waiting’?

I love his approach and the layer of depth he achieves in his own music. KMRU helped extend ‘Waiting’ in a way that let it breathe more. When I sent him the stems, I believe the idea was somewhere under two minutes. When we would chat over email about art in general and our interests, it was very apparent that we shared much in common. I’m excited to work more together in the future.

You mentioned embracing imperfection and avoiding perfectionism during the album’s creation. How did that mindset influence the the music?

It influenced the creative process because everything on the record was recorded live, usually in long takes, or the layering of sounds and textures happened in the moment, without overthinking. The focus was on staying true to the initial inspiration and embracing those moments of getting lost in the process. It’s not a cerebral approach but more about trusting reactions from the body and spirit.
The hardest part is the editing and mixing, which can drag on endlessly. At some point, you risk diminishing the initial creative idea, so I was careful not to let that happen.

Having spent over a decade as a guitarist and music director for Lana Del Rey, how has your experience with her and the broader music industry influenced your approach to solo work?

I’ve learned a lot from Lana about maintaining artistic integrity and vision, regardless of outside influence. She’s fast, knows what she wants, and has an incredible ear. My performing experience helps me understand what resonates with an audience, and I aim to connect emotionally through my music. I try not to focus on the business side unless necessary. I also have a strong intuition for sensing whether someone is creating art from a pure place, and I resonate with creating without rules or worrying about external reactions.

Tracks like ‘In A Cloud’ and ‘Moving Air’ evoke vivid emotional imagery. What emotions or stories were you exploring as you created these pieces?

I don’t think it was one specific story I was exploring. An overarching feeling of escapism played a big role in the record. I really value when the listener or viewer has space to bring their own emotions and can revisit with new takeaways or hear subtle nuances they didn’t notice before.

 Your album uses sounds like airport recordings on ‘Pan AM’ and dreamy drones. How do you decide which sounds to include in your music?

I pay attention to whether a sound gives me an immediate gut reaction or sparks inspiration. It’s usually a reaction that makes me start creating or crafting a sample to loop. I also enjoy when the source of the sound or instrument is more discreet, as it leads to a more interesting listening experience.

Your video single for No Sound In Space combines your music with avant-garde visuals and movement performance by Kylie Shea. Can you share your vision for this piece and what viewers can expect?

I had clear visions for the visuals and wanted to create a sonic and visual world that would excite me as a viewer in a theatre. The pairing of sound and picture, along with the use of silence like in 2001: A Space Odyssey, was a major inspiration—aiming for a captivating, non-linear viewing experience. It was important to shoot on 35mm film with everything done in-camera, without post-visual effects, to stay true to that Kubrickian approach.

 With your debut album set for release and performances at iconic festivals behind you, what’s next for Blake Lee? Any future collaborations, tours, or projects in the works?

A stadium tour in the UK and Ireland just got announced for the summer of 2025 with Lana, which I’m really excited about.  I’m also starting to create and compose again now that the NSIS video and album are out in the world.