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Don't be scared by any hysterical arm-waving about "oh my god they're rocking out" that you may have heard with regard to this new Low album. Yes, they have upped the tempo and volume on the majority of this album to levels previously only heard on individual tracks like "Dinosaur Act" or "Canada", and there's a variety of sounds on here that we haven't heard from them before (thanks in part to golden-touched über-producer Dave Fridmann): there's more acoustic guitar than I can recall hearing on any of their previous albums, for instance, and the track "Walk Into the Sea" is as close Low has ever come to surf-rock. But they are still fundamentally the same Low, and the new sounds and Fridmann's influence have not altered the essence of the group (just as it wasn't altered by Steve Fisk and his Optigan on The Curtain Hits the Cast). The dynamic range and depth of atmosphere is just as great here as on their previous albums, and, you know, they haven't sold their souls or gotten Mimi a Lars Ulrich-style drum kit or anything like that. Low have always been an experimental band, and though they have had a fairly specific aesthetic for most of their existence, they have explored a fairly large pallette of sounds and a wide range of expression within that aesthetic. So it only makes sense to me that their spirit of exploration would eventually lead them to expand into a new dimension.
For my money the biggest development here is a heightened emphasis on songwriting. Before, it generally seemed like the sound and style tended to drive the substance of the songs; there wasn't anything wrong with that, and you couldn't argue with the results, but now it feels weighted more the other way around, and it's an illuminating balance shift. It's remarkable that, even with the increase in their stylistic range, this album contains some of Low's sharpest and most consistent songwriting. Perhaps having an outside producer to mastermind some of the sonic details freed them up to redirect their concentration. A happy result of this focus shift seems to be that they have upped the melody quotient. My favorite Low songs have always been the most tuneful ones, so I for one am not too sad that there isn't much on here that resembles their more difficult, experimental songs like "The Lamb" or "John Prine". Not that there aren't some prickly numbers to be found: album-opener "Monkey" is pretty contrary with its grotty keyboard bassline, thumping drums, and ominous vocals, and "Pissing" comes close to the dark, nervy quality of those aforementioned songs. There's also a newfound narrative directness in some of the lyrics, such as in "When I Go Deaf" and "Death of a Salesman."
I certainly don't mean to take anything away from the brilliance of Low's previous releases, but to me, this album feels like a culmination of everything that has come prior. I would even go so far as to call this a masterpiece, a near-perfect album from start to finish. The one disappointment, as Janice pointed out to me, is that Mimi doesn't take the vocal lead on any of these songs, but for me that doesn't detract from the album in and of itself. The new sounds and the honed songwriting really throw this album into sharp relief and give it a vibrant presence. This is definitely one of the most outstanding albums to date from this all-time-great band. (mike.02.05)
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Gasp. Low are so incredible they just give me shivers. The first time playing this, I got goosebumps. It's just so beautiful, and I feel like that adjective isn't even strong enough to describe it.
Murderer is a limited-edition 10" single (only 1000 pressed) that was released on (gulp) Cameron Crowe's Vinyl Records label. Yeah, Cameron Crowe. I try not to think about it.
This EP was lovingly recorded at home by the band. The first track "Murderer" features some of the most empassioned vocals I think I've ever heard come from Alan and Mimi. I swear, you just feel like their hearts are so deeply in it. "Silver Rider" has a somber funeral beat from Mimi and some (dare I say) Cocteau Twins-esque vocal overdubs and echoes and keyboard-y noises. "From Your Place on Sunset" features some dirgey guitar moments from Alan, but still retains that mesmerizing "Low"-ness.
This release is a little curious, because I'm not sure Zak is on it! In Alan's blog on the Chairkickers.com site, he wrote in a 07/01/2003 post: "mimi and i did 3 songs..." And on closer listen, Mike and I can't really catch any bass on it! Very interesting. But anyway, it's a shame this release is limited. As Mike summed it up, "I feel sorry for any Low fans who don't get to hear this!" (janice.09.03)
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trust • kranky • 2002
I love Low. Love 'em love 'em love 'em!!! They're truly one of my favorite bands ever! So, I was super excited for this album to come out!!! When we got it, my first time listening to it was at work, with the volume turned down low (heh) and with my co-workers swarming around, phones ringing...well, you get the idea! What a bad idea that was. 'Cause I truly didn't "get" the album. I'd catch a snippet of the fuzzy-rocker "Canada" and think, "What the hell is this?!". But, really, for the most part, I couldn't hear anything since I had to keep it turned down. I played it over and over again a couple of times at work, but never had the chance at home to really sit down with it.
Then we saw them live, and that changed everything. For the first time, I was really getting to hear the songs, and I fell completely, head-over-heels in love with them. This is SO GOOD. I just can't stop listening to it now!
As I mentioned, there is the unexpected fuzzed-out rocker "Canada", but it still retains the essence of Low with its simple song-structure and blending of Alan & Mimi's voices. And some of the songs harken back to Low's much more minimalist early days, like the somber "Candy Girl" and the eerie "The Lamb".
But then there are so many songs on this CD that just make me glow and swoon and melt with joy! Like the delicate "Tonight" which highlights Mim's heavenly voice, or the breathtaking "Point of Disgust" which is another Mimi-led song. Other wonderful tracks include "In The Drugs", a quiet acoustic number that swells towards the end with gorgeous harmonies from Alan, Mimi, and special guest vocalist Gerry Beckley from 70's AM radio-lite artists, America! (Don't laugh. I love them.)
Really, this album is different from Things We Lost in the Fire, but it's still gorgeous, beautifully-done, and wonderfully Low. Definitely one of my favorite albums of last year. (janice.01.03)
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