The Daily Sabbatical

Periodically I think I might stop listening to Low. I mean, they have had a sound arc over these two decades, but it’s pretty subtle. But my rule is that if I loved the previous album of a band, I buy the next album unheard—trust is part of what is required of us as listeners. And time and again, I love Low’s albums, and time and again on the first listen of their new album I wonder if this is just another product of a well worn mold, but then on the second listen I am in love. It could be I love the mold. But I don’t think so. I think this is a band that evolves at the rate of evolution. A band that takes some risks, but that does so only if they’re feeling risky. A band that creates a sound that forms a sonic halo that reflects what is going on inside. Radiohead is like this, and Sigur Ros is often like this. Low is on that level, and C’mon is no less essential a step for this band than recent albums have been for those near flawless acts.

C’mon is their most produced album, and a lot has been made of the fact. But the album is no less raw for that. It reminds me, in ways, of Blur’s 13—a heavily produced but emotionally wrought opus. There are no choirs here, it’s still just guitar, snare, high hat and bass—oh, and a beautifully placed banjo. But the production maximizes the minimal, not unlike Steve Albini did for the band some years back, and the results are compelling. For example: “Nothing but Heart” initially struck me as a bit silly, too repetitive, but by the end I felt tears. (Don’t underestimate the power of being genuine, young musicians!)

This is not an album without flaws. As of now, some songs still strike me as Low fillers. But the high points make those just necessary dimples in the seam. “Try to Sleep,” the first track, is classic Low, with a basic beat, a guitar intro (but with xylophone) which blossoms into an Alan and Mimi harmony which is as usual both seductive and reassuring. The second track, “you see everything” features Mimi, who takes us to a hazy adolescent summer when we are unsure but uncynical. The third track, “Witches,” is very Alan—besieged and minor—and reminds one of a Modest Mouse song on half speed, but it is a contribution to the Low “best of” vaults. (Listen for the Dark Side of the Moon production on this one!) Then at the ending, “Nothing but Heart” which is just that, and the final “something’s turning over” which reassures the children while conveying the immanent darkness…

I gush. But somehow Low continues to write lullaby’s for adults who hope for the best but know that the worst is just around the corner, and with that I can lay me down to sleep.