Despite the fact that minimalism is Low's main distinction, each of their records has its own personality. For the curious, here's a basic run-down of each Low albums:
- I Could Live In Hope (1994). In a word: Monochromatic. The black-and-white of their first video is indicative of the record as a whole, wherein Low had established its minimalist ethos, but had yet to stray from its strict, austere formula. Hence, all the songs here start to sound the same after awhile; fine songs for sure, but still interchangeable. The album finishes with perhaps the saddest cover of "You Are My Sunshine" ever. But, the album does open with the gorgeous "Words," which was happily the true harbinger of their music to come. Highlights: "Words," "Sea," "Sunshine."
- Long Division (1995). In a word: Distinct. Low grows from being a mere Grunge reactionary to a distinct musical entity unto itself. Their opener "Violence" (violence being a theme they would return to repeatedly throughout their career) features Low already mapping out the possibilities for joy and euphoria present within minimalism and melancholy. The album likewise features Low not just embracing the silence between notes, but now staking out their own space within it. Highlights: "Violence," "Shame," "Caroline," "Throw Out The Line."
- Transmission (EP) (1996). In a word: Referential. Low wears its influences on its sleeve with a slowcore cover of Joy Division's "Transmission," one that calls more explicit attention to Ian Curtis's menacing lyrics, and hints at the source of Low's own combo of dread and joy. Long Division's "Caroline" is reworked into a minor key as "Caroline 2." The closing untitled "hidden" track provides the quiet background drone that appears to cut out just at the start of "Anon" on their 3rd full-length. Highlights: "Transmission," "Caroline 2."
- The Curtain Hits The Cast (1996). In a word: Epic. This is Low's first big "statement" album. The Biblical-heaviness of the title "Anon" opens the album; the near-10-minute centerpiece "Laugh" pushes their slow-burn, minimalist, silence-embracing formula to the max; and then explodes that formula with the 14-minute, reverb-heavy opus "Do You Know How To Waltz?" Alongside Trust, Curtain is considered one of Low's "dark" albums, even though the minor college-radio-hit "Over the Ocean" is among their most uplifting numbers. This record is a long, deep-sea dive into the darkness that finishes with the reminder, "don't be afraid of the dark." Highlights: "Over the Ocean," "Laugh," "Same," "Do You Know How To Waltz?"
- Songs For A Dead Pilot (EP) (1997). In a word: Experimental. Opener "Will The Night" (which would appear in more straight-forward form on Secret Name) sounds as though it was recorded at the end of a tunnel. "Condescend" alone is worth the price of admission, and introduces strings to Low's sound for the first time. Third track "Born on the Wire" pushes their minimalism to its final and logical extreme--it is an ultra-slow 11-minute number, the last half of which is just a single, haunting, unresolved guitar chord played slower...and slower...and slower. This is music for a snowstorm. Not for the casual fan, but rather a deep reward to the committed one. Highlights: "Will The Night," "Condescend," "Born on the Wires."
- Secret Name (1999). In a word: Religious. And not just because the album title, "Weight of Water," and "Missouri" contain explicit references to Low's LDS faith (or at least, as explicit as Low ever can be); no, the understated beauty of the music itself is a religious experience. Low has pushed through the darkness, and while they haven't come through unscathed, they have still found the light, apparently. Not just strings, but piano is integrated in for the first time. This is perhaps the perfect album by which to introduce new listeners . Highlights: "Starfire," "Two-Step," "Weight of Water," "Missouri," "Soon," "Immune," "Lion/Lamb."
- Christmas (EP) (1999). In a word: Sincere. Even more so than Secret Name, Low here wears their faith openly. They pull off the miraculous feet of being happy without being sappy, religious without being maudlin, merry without being ironic. The EP contains perhaps the only acceptable cover of "Little Drummer Boy" extant. "Just Like Christmas" is now an Indie-rock Holiday mainstay. Highlights: "Just Like Christmas," "Long Way Around The Sea," "If You Were Born Today (Song For The Baby Jesus)."
- Things We Lost In The Fire (2001). In a word: Orchestral. The strings hinted at in earlier albums comes to full fruition here. This is music for getting older ("July" bemoans the never-ending passage of time; "In Metal" is the most devastating song for new mothers ever). In my personal opinion, the first half of the album, while fine, is a little underwhelming--right up until "July." From there to the end, it's just one gut-wrenching masterpiece after another. Highlights: "July," "Laser Beam," "Whore," "Kind of Girl," "Like a Forest," "Closer," "In Metal."
- In The Fishtank 7 (EP) (2001). In a word: Lullaby-ish. Low joins forces with the instrumental-string group Dirty Three, as part of an ongoing record series wherein various artists record impromptu sessions in an Amsterdam fishtank. The two groups bring out the best of each other. Southern Baptist-esque "Lordy" hints at the amplification to come. There's a Neil Young cover. Highlights: "I Hear...Goodnight," "Down By The River," "When I Called Upon Your Seed," "Lordy."
- Trust (2002). In a word: Funereal. This is the other "dark" album of Low's oeuvre, consisting of such long and languid death marches as "(That's How You Sing) Amazing Grace," "Candy Girl," "The Lamb" (which really does sound like a crucifixion), and "John Prine." However, the record is also interspersed by much more sprightly fair like "La La La Song" and "Point of Disgust"--as well Low's first forays into amplifiers and rock, "Canada" and "Last Snowstorm of the Year." It's depressed music that gets you through your depression, not around it. Highlights: "Canada," "The Lamb, "Last Snowstorm of the Year," "La La La Song," "Point of Disgust," "Little Argument With Myself," "Shots and Ladders."
- A Lifetime of Temporary Relief (Boxset) (2004). In a word: Everything. A 3-disc set (plus a DVD) of demos, B-sides, rare-singles, live tracks and covers from the previous decade, presented in rough chronological order. Disc 1 does start off slow, but then rewards your patience with true gems it would be a tragedy to miss. Revealingly, their sense of humor shines through in places. Though it may be heresy to say so, I actually prefer their version of "Last Night I Dreamt That Somebody Loved Me." By the liner note's own admission, they threw on everything and let the listener decide for one's self what's worth keeping; thankfully, most of it. Highlights: "Tired," "Prisoner," "Venus," "Joan of Arc," "Words" [Misfits style live], "Back Home Again," "Don't Carry It All," "Last Night I Dreamt That Somebody Loved Me."
- The Great Destroyer (2005). In a word: Loud. The amplifier experiments of Trust become the rule on The Great Destroyer. The simmering violence that had always silently threatened just below the surface of their minimalism, is here released in its full rage at last. This was my first Low album, and what hooked me on them. "Silver Rider" alone justifies the record's existence. (Robert Plant later covered "Silver Rider" and "Monkey" for a solo album.) And lest you think Low had lost its slowcore way, along comes the quiet "Death of a Salesman" to haunt your dreams. Time, by the way, is the Great Destroyer. Highlights: "Monkey," "California," "Silver Rider," "Cue The Strings," "Step," "When I Go Deaf," "Broadway (So Many People)," "Death of a Salesman."
- Drums and Guns (2007). In a word: Ethereal. Low's foray into Electronica. Their response to the Iraq War. The atmospheric music communicates more a mood than a message. Alan Sparhawk had decided to continue his Great Destroyer hard-rock experiments with his side-project Retribution Gospel Choir instead of Low; nevertheless three RGC songs, "Breaker," "Hatchet," and "Take Your Time," make their way onto Drums and Guns in remixed form. I can't help but wonder if the "Violence" from Long Division's start is referenced by this album's closing line, "Maybe it's your violent past." Their shortest record until The Invisible Way. Highlights: "Sandinista," "Hatchet," "Your Poison," "In Silence," "Murderer," "Violent Past."
- C'mon (2011). In a word: Triumphant. Low splits the difference between the moody minimalism of their earlier work and the wild distortion of their latter, with such slow-burn build-up jams as "$20," "Majesty/Magic," and the ecstatic "Nothing But Heart." They marry together happy melodies and sadder lyrics on the opener and closer "Try To Sleep" and "Something's Turning Over." C'mon is a record of contrasts, one I believe could've provided the perfect capstone and closing statement of their career; fortunately, The Invisible Way keeps their 20-year winning streak alive. Highlights: "You See Everything," "Witches," "$20," "Nothing But Heart," "Something's Turning Over."
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