Wherein Alan Sparhawk shows us he's not always Low
I'll get this out of the way first, Low are one of my favourite bands on the planet and mean more to me personally than probably any other musical act currently drawing breath (save possibly for Tom Waits and Radiohead). So I shall try to remain impartial when reviewing Low front-man Alan Sparhawk's latest foray into lo-fi, blues rock psychedelia with Retribution Gospel Choir. Their first self-titled album (released in 2008) was a triumphant change of direction for Sparhawk and '2' is no exception. Sparhawk's trademark way with a simple, affecting melody is here bolstered to grungy, overpowering guitars and blustering, busy rhythm section, a world away from the hushed minimalism of his day job.
Since their beginnings as a seminal 'slowcore' band in the early to mid 90's, Low had grown over time into a much more commercially viable entity with 2004's Dave Friedman produced 'Great Destroyer' album especially aligning them with more traditional alternative rock. The sharp about-turn made with 2007's 'Drums & Guns' (wherein they traded guitars and drums for electronics and traditional structures for avant-garde mood pieces) however crushed any doubts that Low were a band who lived to challenge popular perception. RGC then are obviously Sparhawk's vent for songs which would be just too conventional for his day-job and a chance to unleash his inner rock-star. I must admit, on paper it sounds far from promising but one listen to this short, sharp kick in the teeth had all my fears grounded, this is rock music with real soul.
It's a simple album really with the time-tested line-up of guitar, bass and drums added weight by an intriguingly modern production. The press release lists mixer Matt Beckley's previous credits as Britney Spears and Paris Hilton but to listen to this record you'd have no idea. It's a wonderful sounding record with the grit and distortion of the instruments wonderfully juxtaposed by crystal clear vocals. It's a sound which perfectly balances the simple formula of the songs a formula which is especially effective on songs such as 'Hide It Away' and 'Poor Man's Daughter', sparse, measured, melodic tracks which could almost have been Low songs if they were played at half speed and volume. There's no doubt this is a pure, balls to the wall rock record though with a dense guitar sound reminiscent of Sparhawk's 'Solo Guitar' solo album (but with less effects laden bluster). The power afforded him by volume casts his songs in a significantly different, pleasingly flattering light.
It's a varied record considering the basic root ingredients and manages to mix light and shade with a winning loud/quiet dynamic which recalls Neil Young & Crazy horse at their best. They even manage to flex their 'pop' muscles on surprising mid-album highlight 'White Wolf' which is unafraid to wear it's classic rock influence on it's sleeve. Indeed 'classic rock' quite adequately describes much of 2 with the lingering ghosts of Zeppelin hanging over 'Your Bird' as well as echoes of The Replacements on 'Workin' Hard' and Pink Floyd on 'Electric Guitar'. Proceedings are closed with hushed lament 'Bless Us All' which is possibly the only song from the collection which wouldn't sound out of place on a Low record.
Another crowning achievement then for a man who's genius continues to go unnoticed by the world at large.
BAND'S SITE
Benjamin Hiorns
