Search - Low :: Trust

Just keep counting the stars

E. Filson | Chicago, IL | 10/09/2002

(5 out of 5 stars)

"Since their second album, "Long Division," Low have been evolving in a very particular direction: from spartan repetition and grim, desperate vocals to more expressive timbres and an entire range of melancholies (and yes, some pop songs). There are very few bands who have allowed their expressive vocabulary and aural palette to evolve to this degree in such a short period of time without suddenly resorting to self-indulgent experimentation (and thereafter proclaiming a comeback to a "classic" sound every other album).This time out, Low has gone even further. Having absorbed all this, Sparhawk and company have created Low's darkest album ever. Yes, there's "Canada" in which Low turns up the distortion for the second time ever and plays in a major key. And then there's "Last Snowstorm of the Year" in which the distortion pedal comes out a third time, even if it's to sing about having been depressed alot some time ago. But the rest of the album takes all of those textures and shades Low have acquired and uses them to construct beautiful, haunting songs. This instrumentation is lush, even though they use no strings on this album, but every note still feels calculated. The production is so extraordinary, if you turn the volume up, you can hear things being dropped and intentionally placed low, static hums. The sonic fabric is literally distressed... the thumping on "La La Song" sounds like kneelers in an empty cathedral being thumped aginst the stone floor. Above all this, Alan and Mimi sing some of their most beautiful harmonies ever.Low have created a piece of art that is uniquely their own, and it's a masterpiece."

It's the best Low CD, flat out!

Chris Pearson | Denver, CO United States | 12/12/2002

(5 out of 5 stars)

"After reviewing dozens of "Best of 2002" lists, it is tragic that this CD isn't on a single one of them. Maybe it is because Low is so prolific, having released the much-heralded and great `Things We Lost In The Fire' only a year earlier. I guess too much of a good thing is bad (e.g., 6 full-length albums, multiple EPs, singles, covers, and collaborations in only 8 years). Stereolab (RIP) may have suffered a similar fate. And I now I finally have all of the Low albums, and have been lucky enough to see them a dozen times, including a disastrous SXSW show at Maggie Mae's in '96. Their show supporting `Trust' was the least attended but the best Low show I've seen. Why all the hype about Sigur Ros?'Trust' is a breath-taking achievement and their best album, in my opinion. The 13 songs are well written, well produced, and the tracks have amazing diversity in dynamics and emotion that is a testament to the uniqueness of the band. How many other 3-piece bands can do what they do? Dynamics (and originality) are lost on pop music these days, and Low, even stripped down at slowcore speed and volume, has more dynamic range than any emo or indie band. The growth in Low's songwriting talent is evident on catchy pop tracks like the beautiful and shimmering "Tonight" and the anthemic Neil Young-ish "In the Drugs". The range of emotions is evident on the shifts in theme - from despair "Candy Girl", sacrifice "The Lamb", sentimental youth "Last Snowstorm of the Year", to the haunting and angry "John Prine". Even when they turn up the volume and rock out (e.g., "Canada"), they still have that undeniably Low quality of reverb, space and depth.Low is still a great band."

The Evolution of Trust

Seirien | Boston | 10/01/2002

(5 out of 5 stars)

"Evolution in nature is a gradual process, unhurried and deliberate; musical evolution should be no exception. With "Trust", Low demonstrate that they are are unafraid to evolve naturally, incorporating new elements into their music with each album without sacrificing any of the essential qualities of their "signature sound": sparsely beautiful melodies, blended male/female vocals, and a subtle sense of of gradually building power and anticipation. "Trust" retains these qualities while allowing a fuller, denser, more epic feeling to enter into Low's sometimes minimalist music. The opening track "(That's How You Sing) Amazing Grace", is incredible: at once lovely and eerie, the echoing guitar and transcendent vocals give it a David Lynch movie soundtrack kind of feeling. Low purists might raise their eyebrows at the second track, "Canada", which is a straight-up rock song built around a driving, distorted bass riff, but again it's a rock song interpreted through Low's distinct musical perspective and doesn't feel out of place here. Another standout track, "I Am the Lamb", resembles a haunted revival meeting with its ghostly background chorus and captivating, chantlike melody. As much as I dislike generalizing music with labels, there are also some distinctly "shoegaze" moments on "Trust", particularly the beautiful "Tonight", which pairs a delicate Mimi vocal with a Slowdive-esque guitar shimmer, and the epic, wall-of-sound closing track "Shots & Ladders". Other excellent tracks like the "The Last Snowstorm of the Year", "Point of Disgust" and the exquisite "Candy Girl" recall the best moments of Low's earlier albums (particularly "Things We Lost in the Fire") but also break new ground, seamlessly becoming part of the distinctive sound of "Trust". Ultimately, though, what is most captivating about this album is also what is most intangible: Low's music creates emotional states in the listener that are difficult to describe until you have experienced them. Like the titular emotion, this album will leave you feeling both comforted and vulnerable, and will slowly build a bridge between your mind and your heart. For those unafraid to trust, I highly recommend it."