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Alternative en Indie - Verschenen op 10 september 2021 | Sub Pop Records

Onderscheidingen Pitchfork: Best New Music
There has never been a better metaphor for Low's music than the way singer/co-founder/guitarist Alan Sparhawk recently defined distortion: "sending too much signal into something and then seeing what it does with it. Circuits, when [they] sense too much information, they start shaping the sound and kind of crushing down, that's what distortion is." On the Minnesota band's 13th album, the prevalent distortion sometimes feels less about listening to music and more like an out-of-body experience. (Don't be alarmed: Your speakers are not fuzzing out.) It's there in the glitchy pulse and churning storm of "I Can Wait," and in the vertigo-inducing feedback loop of "Hey." But it's also tempered with that most magical element of Low: the harmonies between Sparhawk and his longtime partner in music and life, Mimi Parker. They're up there with Emmylou Harris and Gram Parsons or Gillian Welch and David Rawlings. On "All Night," the music is warped as if melted in the sun but the harmonies remain as ethereal as ever. The couple pull off a terrific trick during the stark grandeur of opener "White Horses," where Sparhwak starts a line, Parker joins in, then he drops out while she sustains. It's spine-chillingly beautiful, even as the background ticking intensifies—like in a movie before a bomb goes off—for a minute and a half. (For the first few songs, such noises bleed from one song to the next, almost like it's one continuous thought.) Low's lyrics can sometimes be obtuse, but dreamy "Don't Walk Away" is so intimate it's almost unbearable. Sparhawk starts off like a '50s crooner (the Platters come to mind), then Parker prettily joins in: "I have slept beside you now/ For what seems a thousand years … Don't walk away/ I can not take any more/ Won this game/ I can not play any more." All the while, there's an indeterminable background whisper, like midnight pillow talk. (Take that song with the lyrics of "White Horses"—"The consequences of leaving/ Would be more cold if I should stay/ Though it's impossible to say, I know/ Still, white horses take us home"—and a story starts to come into focus.) The couple also each have stunning solo turns. "More" comes on in a fury, and Parker stands determined and femme in the face of fearsome guitar storm: "I gave more than what I should've lost/ I paid more than what it would've cost … la la la la ..." Meanwhile, Sparhawk's voice shoots like a beacon of light, so clear and unclouded, on "Days Like These," before the super-cloudy fuzz kicks in; the result is like some gorgeous, twisted hymn. © Shelly Ridenour/Qobuz
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Alternative en Indie - Verschenen op 14 september 2018 | Sub Pop Records

Onderscheidingen Pitchfork: Best New Music
Brilliantly melancholic, the trio of jolly depressives, Low, celebrate 25 years of musical therapy with their album Double Negative released by Sub Pop. 1,000% slow core, the album is a gradual and delicate suction towards the abyss. With the help of BJ Burton, Bon Iver’s producer, Low reveal a very mysterious bit of work, just like an original David Lynch band. The first track, Quorum, sets the tone with some heavy, crackling waves of sound. Double Negative is dark but above all it looks to create a unique sensory experience. Between the almost scary drums and atmospheric vocals, Low trap their prey in a sublime hypnosis. Once under the spell Double Negative’s charm begins to work. Alan Sparhawk’s lyrics finally begin to take form on the track Fly. The singer takes five minutes in order to stabilize the state of his listeners. Moving at this rate, Low can finally manipulate their listeners in every sense. The robotic voice in Tempest and the vocal harmonies of Always Up provoke a feeling of weightlessness which leaves the listener imagining cosmic landscapes. When the synth, the vocoder, Garrington’s bass and Parker’s drums are not present the group uses telluric (earth like) sounds which almost warn of the pending apocalypse, like on the track The Son, the Sun. Terribly amazing, Double Negative goes from metamorphosis to metamorphosis, without ever revealing if the end will be prosperous or tragic. © Anna Coluthe/Qobuz
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Alternative en Indie - Verschenen op 19 maart 2013 | Sub Pop Records

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Alternative en Indie - Verschenen op 11 september 2015 | Sub Pop Records

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Rock - Verschenen op 1 januari 1994 | Astralwerks

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Alternative en Indie - Verschenen op 21 mei 2001 | In The Fishtank

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Alternative en Indie - Verschenen op 11 april 2011 | Sub Pop Records

No one has ever listened to Low expecting boundless good cheer, but the dour beauty of their best work -- Secret Name, Things We Lost in the Fire, and Trust -- made something deeply rewarding out of the fragile sorrow of their spare melodies and Alan Sparhawk and Mimi Parker's voices. However, the bigger and more sonically diverse sound of Low's two albums with producer Dave Fridmann, The Great Destroyer and Drums and Guns, tended to reinforce the increasingly dark and chaotic tone of the group's songwriting, and what once seemed quietly sad now seemed more than a bit troubling. So it's both surprising and reassuring that Low's ninth studio album, C'mon, is also the most hopeful music they've released in quite some time. With the lovely tranquility of the opening tune, "Try to Sleep," and the easy charm of "You See Everything" (which sounds like some lost gem of mid-‘70s soft rock), C'mon is as languid as ever for Low while at the same time suggesting these musicians are looking for some light at the end of the tunnel. C'mon was co-produced and mixed by Matt Beckley, who has previously worked with Katy Perry, Avril Lavigne, and Vanessa Hudgens; he's an odd choice to work with Low, but thankfully, he's not afraid to let the album's darker and more contemplative songs sound as dramatic as they should, while adding just the right touch of polish on "Especially Me" and "Something's Turning Over," where the pop undercurrents that often run beneath Sparhawk and Parker's songs bob to the surface. (Beckley also does fine work with Sparhawk and Parker's vocals, which are in splendid form here.) C'mon, like Low's albums with Fridmann, stands apart from the stark minimalism of this band's earlier music, with a number of additional musicians contributing to the sessions (including Wilco guitarist Nels Cline and violinist Caitlin Moe), but this material more successfully adds dynamics and color to Low's melodies while retaining the power of their elemental approach. The dark clouds that have haunted Low are still clearly visible on "Witches" and "$20," but the slow, noisy build to the climax of "Nothing But Heart" is a testament to the very real heart and soul behind their music, and C'mon, while well short of sunny, is an album devoted to the search for answers amidst the darkness, and it's a powerful, deeply moving work from a truly singular band. © Mark Deming /TiVo
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Rock - Verschenen op 1 januari 1995 | Astralwerks

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Alternative en Indie - Verschenen op 1 januari 2000 | kranky

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Alternative en Indie - Verschenen op 1 januari 1996 | Astralwerks

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Alternative en Indie - Verschenen op 11 oktober 2013 | Chair Kicker's Union

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Alternative en Indie - Verschenen op 16 december 2020 | Sub Pop

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Alternative en Indie - Verschenen op 22 juni 2021 | Sub Pop Records

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Alternative en Indie - Verschenen op 1 januari 2002 | Chair Kicker's Union

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Alternative en Indie - Verschenen op 6 april 1999 | Chair Kicker's Union

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Pop - Verschenen op 1 januari 1996 | Astralwerks

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Alternative en Indie - Verschenen op 14 november 2013 | Chair Kicker's Union

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Alternative en Indie - Verschenen op 1 januari 1997 | kranky

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Alternative en Indie - Verschenen op 11 september 2015 | Sub Pop Records

De sound van de Amerikaanse formatie Low is in de loop der jaren steeds eclectischer geworden en dat geldt ook zeker voor hun elfde studioalbum Ones And Sixes uit 2015. De band uit Minnesota tracteert de luisteraar op het nieuwe album op songs die zich onderscheiden door een zeer gevarieerde instrumentatie en een bedachtzame sfeer. Zoals altijd vormen de samenzangen van Alan Sparhawk en Mimi Parker een belangrijk onderdeel van de slowcore van Low. © TiVo
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Alternative en Indie - Verschenen op 20 juli 2021 | Sub Pop Records