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Alternative & Indie - Released September 14, 2018 | Sub Pop Records

Distinctions 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 & Indie - Released March 19, 2013 | Sub Pop Records

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Alternative & Indie - Released September 11, 2015 | Sub Pop Records

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Alternative & Indie - Released May 21, 2001 | In The Fishtank

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Rock - Released January 1, 1994 | Astralwerks

Like so many of their contemporaries, Low are repeatedly lumped into numerous derivative and nondescript headings intended to encompass slow-paced, instrument-driven music that maintains an indie aesthetic. Quite simply, no category can truly reveal the beauty and glory of Low's debut record I Could Live in Hope. Sad core? Not even close! I Could Live in Hope is an incredibly joyous journey of spirit and songwriting sensibility. The record remains patient and sparse throughout (just guitar, bass, high hat, and snare, and angelic vocals by the husband and wife team of Alan Sparhawk and Mimi Parker), but succeeds beautifully. Low truly behold the gift of understatement. Working with long-time producer and New York underground mainstay Kramer, Low examine their own fears and haunting experiences, occasionally linking them with Biblical references, while consoling listeners with warm layers of ethereal vocals and waves of guitar reverberation. Tracks are simple one-word titles but that's all that they require -- too much information would spoil the record's elegance. And that's probably why they open the record with "Words," a song about the overuse and misuse of language, that sets the tone for the entire album, right up to their plaintive and passionate cover of "You Are My Sunshine." Every small nuance of production is evident -- Sparhawk's fingers not quite connecting on a chord change or sliding over a fret and echoing infinitely -- making I Could Live in Hope a true testament to both Low and Kramer's penchant for capturing the lushest of soundscapes. © Ken Taylor /TiVo
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Alternative & Indie - Released April 11, 2011 | Sub Pop Records

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Alternative & Indie - Released January 1, 2000 | kranky

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Rock - Released January 1, 1995 | Astralwerks

With the molasses-slow ringing of the opening chords of "Violence," Low arrived. The Duluth, Minnesota band had formed two years earlier in 1993, and issued its quietly joyful debut, I Could Live in Hope, in the interim, but sophomore record Long Division saw the band stripping down its already unprecedentedly spare instrumentation to create an atmosphere so lonely, patient, and narcotic that the album created the sensation of being awake in a sad-hearted dream. On their debut, Low's sound was informed by their minimal instrumentation, with guitar, high-register bass notes, and a two-piece drum kit providing the backdrop for Alan Sparhawk and Mimi Parker's angelic harmonies and Kramer's spacious production. The songs on Long Division take that minimalism even further, slowing the tempos and implementing so much negative space that the instruments sometimes fade into complete silence in the space between sparse notes or drum hits. The otherworldly slowness of songs like "Shame" and "See-Through" are representative of the radical amount of space that defines the album, gliding gracefully as a falling leaf floating slowly on the wind. Low were born out of a reaction to the aggressive trudge of early-'90s grunge, so the songs are slow but never plodding. A song like "Turn" begins with a somewhat menacing lurch, but slowly blooms into a mysteriously hopeful climax. Contemporaries like Red House Painters and especially Codeine worked in similar muted colors and pensive tempos, but Low managed to exist outside of the often depressive themes of their peers. Practicing Mormons, Sparhawk and Parker often intoned their understated songs with vaguely religious undertones, hinting at retribution and redemption with foreboding atmospheres and heavy vibes more than overtly cautionary lyrics. The combination of Low's groundbreaking approach to elongating traditional pop music structures paired with Kramer's equally extreme reverb and Echoplex colorings congeal into one of Low's most brilliantly atmospheric statements, and perhaps the most dire in what would be a career that spanned decades. Long Division is a masterwork, somehow simultaneously achieving lushness and emptiness, embodying hope and heartbroken despair with equal force. © Fred Thomas /TiVo
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Alternative & Indie - Released January 1, 2001 | kranky

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Alternative & Indie - Released January 1, 1996 | Astralwerks

The Curtain Hits the Cast was Low's first "major" album, taking the indie buzz over their early work to a much larger audience. The band didn't lose anything in the process -- the album shows them still firmly entrenched in the epic, slow, lazy dirges that got them started. The only noticeable changes come in the form of more elaborate production and a shift in the ratio of dark, creepy dirges to pretty, comforting ones (the latter winning out, as evidenced by the album's single, the beautiful "Over the Ocean"). Low is one of those rare bands that has created such a distinct musical world for itself that even major changes can't affect it -- just like every Cocteau Twins album is unmistakably theirs, and always good, listening to any Low recording involves revisiting a wonderful sound that can't be found anywhere else. The Curtain Hits the Cast is more accessible than much of the band's earlier work, but, since it's a Low album, it isn't really that much different -- the album is probably the best introduction to Low's work. © Nitsuh Abebe /TiVo
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Pop - Released January 1, 1996 | Astralwerks

Duluth, Minnesota's \slowcore pioneers Low had been impressing live audiences with their slow as molasses cover of Joy Division's "Transmission" well before it was released on the largely unimpressive Joy Division tribute album, A Means to an End. Not content to let their version wither, the band put together this fine EP. "Transmission" is joined by some excellent songs unavailable elsewhere, including the brief but lovely "Bright," a darker version of the band's "Caroline" (called "Caroline 2"), and a cover of Supreme Dicks' "Jack Smith." Transmission EP also marks a couple of firsts for Low. It was the first pairing of the band with producer Steve Albini, who would produce the band's best work, 1999's Secret Name. Another first was a hidden, untitled track that stretched the band into much more experimental territory that they would explore on 1997's Songs for a Dead Pilot. © Josh Modell /TiVo
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Alternative & Indie - Released January 1, 2002 | kranky

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Alternative & Indie - Released September 11, 2015 | Sub Pop Records

If the relative warmth and hopefulness of 2011's C'mon and 2013's The Invisible Way had you wondering if Low were starting to get happy on us after all these years, don't fret -- 2015's Ones and Sixes shows Alan Sparhawk and Mimi Parker have not lost touch with their somber slowcore roots. While Low's two previous albums boasted production and instrumental accompaniment that brought out an emotional generosity that was a real change from the cool isolation of their best-known work, for Ones and Sixes the group and producer BJ Burton have opted for a stark and chilly sound, dominated by electronic pulsebeats and waves of polished noise that give the songs a spare, alien backdrop. One of the greatest strengths of Low's work for Sub Pop has been the beauty of Sparhawk and Parker's vocals, with their harmonies sounding even stronger and more effective with the passage of time, and that's just as true on Ones and Sixes, as the humanity of their voices gives this music a hint of body heat and warm breath in spite of the brushed aluminum sound of much of the album. And though the electronics often dominate, the group's guitars and keyboards are still a key part of the arrangements. Ones and Sixes is a brave effort that stands apart from much of Low's work, putting the dour beauty of their music into a new context. © Mark Deming /TiVo
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Alternative & Indie - Released January 1, 1999 | kranky

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Alternative & Indie - Released January 1, 1997 | kranky

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Alternative & Indie - Released August 16, 2000 | Temporary Residence Ltd.

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Alternative & Indie - Released March 19, 2013 | Sub Pop Records

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Low

Alternative & Indie - Released January 1, 1995 | Astralwerks

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owL

Pop - Released January 1, 1998 | Astralwerks

Owl (Low Remixes) is a compilation of other artists' remixes of the Duluth, MN. trio Low. Low is known primarily for their subtlety and ambience, and none of the eight remixes stray too far from the band's trademark sound. The songs are deconstructed and reworked by several renowned artists/DJs, such as Tranquility Bass (aka Mike Kandel), Skull Valley Dub (aka Tom Chasteen), and Jimmy Somerville/Sally Herbert (Somerville was the lead singer for '80s hitmakers Bronski Beat). The album's opener, "Down" (by Porter Ricks), may test the listener's patience, since it's nearly 15-minutes long and very minimalistic, but later remixes make up for it. "Laugh" by DJ Vadim is a definite highlight, as is the upbeat "Anon" and the moody "Do You Know How to Waltz," both remixed by Neotropic (aka Riz Maslen). Owl (Low Remixes) is definitely recommended to ambient admirers and hardcore fans of the band, but newcomers may want to start elsewhere. © Greg Prato /TiVo
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Alternative & Indie - Released September 17, 2013 | Sub Pop Records