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The Invisible Way

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  • CD (18 mars 2013)
  • Nombre de disques: 1
  • Label: Sub Pop
  • ASIN : B00ABIRE14
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Format: Album vinyle
The invisible way est le dixième album du groupe d'indie-rock Low, qui va fêter ses vingt ans de carrière.

Low. Le groupe porte bien son nom. Depuis 20 ans, le trio sonde les tréfonds de l’âme humaine pour en sortir ce qu’il y a de plus beau, éternellement attaché à une mélancolie qui a inspiré des générations de folkeux déprimés. Autour d’une certaine lenteur caractéristique, le groupe de Duluth a marqué l’histoire de l’indie-rock et le label Sub-Pop. Deux ans après le très beau "C’mon", Low est de retour, avec un titre en forme de clin d’œil à leur carrière dans l’ombre, "The Invisible Way". Le groupe, qui s’était déjà offert les services du grand Steve Albini, sait encore une fois s’entourer en recrutant cette fois Jeff Tweedy, génial leader de Wilco et producteur de l’album. Et "The Invisible Way" est sans conteste du grand Low, sensible, triste et généreux. La cohésion vibrante du groupe leur permet les plus belles harmonies, et les voix d’Alan Sparhawk et Mimi Parker n’ont pas fini de faire des étincelles. Low tient sa ligne minimaliste et réussit, encore une fois, une magnifique variation.
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Amazon.com: HASH(0x993c433c) étoiles sur 5 24 commentaires
22 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x9929eeb8) étoiles sur 5 Low Unplugged? 19 mars 2013
Par JAlexander - Publié sur Amazon.com
Format: CD
On March 19th, 2013, Low release The Invisible Way, their 10th full-length album, marking 10 albums in 20 years. Not bad for the survivors of an obscure genre (slowcore) from an obscure place (Duluth).

I came to Low in the mid-90's when I was part of an e-mail list (remember those?) for fans of the Cure. I was told if you love the stark minimalism of Seventeen Seconds (check!) and Faith (check!), then Low were the band for you. I stumbled across a vinyl copy of their new release, The Curtain Hits the Cast, and picked it up. Unbeknownst to me, this was quite the rarity, featuring two exclusive tracks. Shortly thereafter, a local record shop had the Over the Ocean single, featuring an incredible hypnotic version of Be There (percussion provided by banging on a clothes dryer). I caught them as they passed through Ottawa, for what was the concert of a lifetime: two stellar opening acts (The Wooden Stars, and the sublime Ida), a tiny basement bar, and a set so quiet that my friend fell asleep four feet from the stage (and singer/guitarist Alan Sparhawk still apologized for being too loud).

What attracted me to Low was their sheer intensity. Each of their first three albums - I Could Live in Hope, Long Division and Curtain - were singular in vision. Slow as anything I had heard, compelling, quiet, sometimes terrifying, with shining moments of absolute beauty. In fact, many of the things I love about Johnny Cash - minimalism, ringing guitars, and haunting vocals - applied equally to Low. They simply came from different genres in different eras.

Over the years, though, like Cash, Low have sought to broaden their sonic palette. The Songs for a Dead Pilot EP stripped away the reverb, offering a new lo-fi approach at the hands of Steve Albini. He went on to produce the gorgeous chamber pop of Secret Name, further expanded upon and slightly rocked out on Things We Lost in the Fire. 2002's Trust seemed to round out the era, drawing on elements of all their previous albums. Moving to Sub Pop, they swapped delay pedals for distortion on 2005's The Great Destroyer. The follow-up, Drums and Guns, was entirely different once again, offering a deconstructionist, electronic approach to a new set of songs. C'Mon was in some ways a return to form, again allowing for gorgeous pop, blissed out distorted jams, and some slower, spacier numbers as well.

For a fan grounded in those earlier releases, each of which offered a stark commitment to a singular sound, their later releases have been mixed affairs for me. On the one hand, I have enjoyed many of their experiments, and find all of the elements I first loved about them - the beauty, the snarl, and the serenity - remain. On the other hand, very few of their albums have hung together from beginning to end. Plus there's always a real stinker of a track somewhere on there (Step anyone?).

The release of The Invisible Way, then leaves me in both anticipation and fear. The production of Wilco's Jeff Tweedy is promising (another one of my fave's, his work with Mavis Staples is a revelation). Advance promotion promised more contributions from drummer/vocalist/wife Mimi (great!) and lots of acoustic guitar and piano (hmmm... but I love Alan's electric so much).

So what about The Invisible Way? Once again, it offers the "Low sound" from a different vantage. This time, it is driven by softly strummed acoustic and minimally chorded piano. In many ways, this is Low unplugged. It also reflects the warm, clear production style Tweedy has been developing. Where his own 6-man band's arrangements are dense, he seems to help other artists strip away the layers to get to the essence of their songs. This is a natural fit for Low.

I'm happy to say that Mimi really takes charge on this album. In recent years, she's offered only 2-3 songs per album. Here she's on almost half of them. I've always loved the roundness of her tone, which blends well with Alan's frailer sound. Funny thing is, on this album, she's harmonizing with herself, often three times over. Holy Ghost is probably the peak here - beautiful, stately and lush. The lyrics - "some holy ghost keeps me hanging on/i feel the hands/but don't see anyone" - could equally be religious or romantic, expressing her Mormonism in a personal yet universal way. Four Score is another soft tune, and she closes the album with the reflective To Our Knees. Both of these are pretty, and continue in a spiritual vein, but I find them unmemorable. Often Mimi's songs stick in your head for days - take the dripping, repetitive chorus of Over the Ocean, or her heartbreaking When You Walked Out on Me - but these ones just float pleasantly through your ears and then move on. As if predicting the risk of boredom, she surprisingly offers two upbeat numbers: the driving So Blue, and the poppy Just Make It Stop. So Blue is the better of the two, the intro builds up with piano-driven octaves walking up a major scale as Alan's guitar grumbles underneath, making way for Mimi's angelic voice to burst through the ether. Stop, however, feels really clumsy to me. The melody is catchy (although the chord progression reminds me of Men Without Hats' I Got the Message), but the pacing feels wrong. (I should note many reviews praise this tune, so what do I know?)

Alan, on the other hand, is in an experimental mood. Plastic Cup is acerbic and amusing, a meditation on a future anthropologists confused reflections on present-day drug testing. The lyrics reflect some of the more bitter moments on The Great Destroyer; if only the brief two-chord instrumental passage developed into a longer jam. Waiting is a piano ballad they've been playing live that never really goes anywhere for me. Lyrically, it reminds of the depression Alan began sharing publicly following Destroyer, and is deeply moving, as if it's one sufferer reaching out to another: "I can see beyond the smile/cheat and lie/I'm not blind/suicide, I'll still be here tomorrow." Yet musically it tries to reach the heights of past epic numbers like Will the Night, but just doesn't get there. Clarence White hints at a soul/funk vibe, Mother is an acoustic waltz, and On My Own starts out as a strange take on country, until morphing into a Neil Young-worthy howling rave out... all with the repeated mantra of "happy birthday, happy birthday, happy birthday."

The songs are all nice in their own right, but not much more than that. Just... nice. For everything I like about this album, I can remember another album where they've done it better. The guitar jams are longer and better on Destroyer's When I Go Deaf or C'Mon's Everything But Heart. The lush harmonies are sweeter on Secret Name's Two Step. The pop culture references (the Byrds and Charlton Heston) are more natural on Drums & Gun's Hatchet (the Beatles & the Stones). The minimalism is more majestic on Long Division's Below & Above. The regret is sadder on Pilot's Hey Chicago.

Thankfully, there's one perfect song: Amethyst. This song takes their new acoustic approach and drags it through a descending five-chord progression that swirls and swirls into magical oblivion. Together, Alan and Mimi lament, their voices on the verge of disintegration, "the color bleeds, fades to white, what used to be a violent mind." A perfect Low moment. If only there were more of them this time round...

3.5/5... maybe 4 if I'm feeling generous... which I usually am when it comes to Low.

This and more reviews at my blog, raisemyglasstothebside.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9929ef0c) étoiles sur 5 Low - In a silent way 19 mars 2013
Par Red on Black - Publié sur Amazon.com
Format: CD
Low have partaken in a long journey since the narcotic rock of their debut 1994s "I could live in hope" but its been one where the direction of travel for their musical trajectory has consistently pointed skyward. The Duluth trio of Alan Sparhawk, Mimi Parker and bassist Steve Garrington are as sure footed as a Welsh team in Cardiff and have in this lovely, quiet and dense album produced another set of golden wonders. Perhaps it the presence of the Wilco link that is adding a key ingredient. Guitarist Nels Cline played on Low's last album "C'mon" and here the Wilco supremo Jeff Tweedy produces with real understanding of the band's ethos not least for the first time equally sharing the vocal duties between Sparhawks deep mournful voice and the lovely airy beauty of Parker's more sweeter approach which on balance is the predominant colour on show here. Those Low fans seeking a repeat of the the huge power chords of "The Great Destroyer" may not find "The Invisible Way" to their liking as it is mostly populated with acoustic guitar and pounding piano's. This does not however detract from the sheer power of the Low aesthetic for this record is as solid as there previous work but the songwriting just keeps getting better.

The sparse opener "Plastic cup" does have a Thom Yorke feel to it and is driven by Sparhawks lead vocal which proclaims "well you could always count on your friends to get you high/that's right/and you could always count on the 'rents to get you by/you could fly". Even better is the brilliant hynotic "Amethyst" which starts with a solo that Neil Young would have longed to write and Robert Plant will be queuing up to cover. It is a song up there with Low's best songs, the sort of moving slow core powered by some of the best harmonies in rock music that slams a vice like grip on your CD player. Parker then follows this with the double punch of the rumbling piano ballad "So blue" and the ethereal country of "Holy Ghost" where her lovely vibrato aches with understated emotion. Tweedy brings back those glowing harmonies again on the mid point standout "Waiting", although the desperation on "Clarence White" takes the album into much darker corners. It is Parker's lead on "Just make it stop" however that provides the album standout. As the National Public Radio review so nicely puts it locates this song "squarely in that sweet spot where darkness and worry are swathed in pristine beauty". The gorgeous closer "To our knees" performs the same feat.

Taken as a whole you could argue that most of Low's albums are a variation on a theme and on "The Invisible Way" the band work within fairly narrow confines, with songs taking subtle twists and turns that gradually grow into marked differences on repeated listens. It is only on one of the later tracks "On my own" that Sparkhawk really cuts loose on his guitar and lands a fiery electric solo characteristic of old. This is a small complaint when you look at this album in the round, since it is a glacial beauty littered with harmonies that remain as exquisite as ever. Some have already proclaimed it the best Low album ever which is perhaps loading the praise far too high. What "The Invisible Way" confirms is that over twenty years this band have produced some of the most compelling music either side of the Atlantic and that there is enormous power in elaborate restraint.

PS thanks to JAlexander for pointing out a silly mistake on the first publishing of this review
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x992a2360) étoiles sur 5 One of my Top 10 of 2013 1 décembre 2013
Par vvv - Publié sur Amazon.com
Format: CD Achat vérifié
This band is an acquired taste, and I've become addicted. I started with *Trust*, and I've been picking up their back catalog. I even learned a song ("In the Drugs") for a covers compilation.

This album is terrific, if you like what's being called "slo-core", mebbe if you don't. Jeff Tweedy's production is spot-on, the reverb turned down, Mimi Parker's voice is turned up and turns up more, and "Plastic Cup" is mebbe my favorite song of the year.

Think I'll listen to it in bed tonite, again.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x992a2348) étoiles sur 5 What a pleasant discovery....thx to Amazon's suggestions....and in my favorite musical genre!! 13 juillet 2013
Par CU2MRO - Publié sur Amazon.com
Achat vérifié
When you get home and you feel like you are as tight as a drumhead emotionally......just play- what I call #mindpharma music from so many great indie bands! There has been a tremendous resurgence in what was once known as the 90's shoe gazer genre. It has evolved to the point where you can easily lose an hour or two IF you just close your eyes ....and relax your mind and body. Close your eyes and take a few deep breaths.....then listen! And RELAX! On twitter follow me and I will follow back ( @CU2MRO) as I and a bunch of others are all discovering new bands, s/s'rs, etc. ENJOY!!
HASH(0x992a2810) étoiles sur 5 Oh No, LOW! 4 juillet 2013
Par cindy-CB - Publié sur Amazon.com
Format: CD
C'mon was my first experience with LOW and an exciting listen it was. After falling in love with Low and `C'mon", I purchased four of their previous albums and was pleased, especially with "The Great Destroyer". Upon hearing of their new release, "The Invisible Way", this past March, I was eager to make the purchase, even with the switch to a new music producer, Jeff Tweedy.

I've read a number of positive comments about Mr. Tweedy's creativity in the studio. However, after my eighth full listen to "The Invisible Way", I am still searching for these clever abilities. "The Invisible Way" has grown on me a bit, but it still just does not carry the excitement and passion of "C'mon" and the thrilling energy of "The Great Destroyer".

One positive note of "The Invisible Way", however, is that Mimi Parker takes charge of half of the album's songs. (Personally, I would love to see Ms. Parker do a solo record.)

If Low cuts another album in the future, and I certainly wish that they will, I can only hope that they return to the thrilling creative energy of their previous producer, Matt Beckley. The Beckley-Low marriage was hauntingly beautiful!
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