Tag: Duluth MN

Video by William Ruben Helms

New Video: Acclaimed JOVM Mainstays Low Release an Aching and Feverish Visual for “I Can Wait”

Founded back in 1993, the acclaimed Duluth-based indie act and JOVM mainstays  Low — married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. despite the fact that the band has gone through a series of lineup changes, they’ve been consistent in their disapproval of the term slowcore. And gradually, the band has managed to completely shrug off the sub-genre’s established strictures altogether.

2015’s B.J. Burton-produced Ones and Sixes began an ongoing series of uncompromising and challenging material. With the critical success of Ones and Sixes, the members of Low wanted to go further with Burton and his aesthetic, to see what someone, who as Sparhawk has described as a “hip-hop guy” could do to push their music in radically new directions. Unsurprisingly, working with Burton has resulted in a completely different creative process: Instead of obsessively writing, revising and rehearsing in Duluth, before heading to the studio, the band went to  Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer. 

During the Double Negative sessions, they’d build pieces up, break them down and build them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slid deeper into madness and instability — and in some fashion Double Negative may be seen as a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s gorgeous harmonies sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it. 

As you’ll recall, the Duluth-based JOVM mainstay’s critically applauded, Grammy-nominated 13th album HEY WHAT was released last year. Continuing their ongoing collaboration with B.J. Burton, the album finds Sparhawk and Parker focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, while turning the duality of existence into modern day hymns we can share. The album’s 10 songs are individually built by their own undeniable hooks — but they’re turbocharged by the vivid textures surrounding them. 

In the lead up to the album’s release and its release, I’ve managed to write about four of the album’s singles:

  • “Days Like These,” a disorientating track featuring hushed passages with strummed guitar fighting for space between dense layers of noise and distortion that accrete and then fall apart. The entire affair is held together by Sparkhawk and Parker’s gorgeous and slightly Autotuned harmonies, serving as a lifeline from the shore, thrown out to the poor soul just about to drown in the breakers. At its core, “Days Like These” is a yearning plea for meaning and peace in a world that’s completely mad and doesn’t make much sense. 
  • “Disappearing,” a meditative slow-burn centered around ebbing and waning feedback and distortion. Sparhawk’s and Parker’s yearning harmonies ride the uneasy crests and valleys of the song’s oceanic-like production. The song is an an aching meditation of loneliness, isolation and the unknown beyond all of this.
  • “More,” a disorientating track featuring heavily distorted and scorching power chords paired with Parker’s gorgeous lead vocal turn, singing lyrics expressing frustration while yearning — and demanding — more in a world that’s grossly unfair and inequitable.  
  • “White Horses,” which featured Sparhawk’s and Parke’rs gorgeous harmonies floating over scorching synth fuzz and feedback with bursts of shimmering strings peeking out of the fray. Much like its predecessors, “White Horses” balances the uneasy and abrasive with the breathtakingly gorgeous.

“I Can Wait,” HEY WHAT‘s fifth and latest single lyrically vacillates between patience, impatience, regret, shame and yearning in a way that captures the thoughts of someone who has been trapped within their heads. Sonically, the Duluth-based duo’s achingly yearning vocals uneasily float atop undulating synths and guitar feedback — before slowly fading out into droning feedback.

Directed by Manuel Aragon, the recently released visual for “I Can Wait” follows a collection of diverse, every day people as they try to go about their day-to-day lives but while haunted by their past mistakes and heartbreaks and longing. The end result is a brightly colored, collective fever dream that’s very human.

Video by William Ruben Helms

New Video: Low’s Scorching and Haunting “White Horses”

Founded back in 1993, the acclaimed Duluth-based indie act and JOVM mainstays  Low — married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. During their nearly 20 year run, the band has gone through a number of lineup changes; but one thing has been consistent — they’ve disapproved of the term slowcore. And gradually, the band has managed to shrug off the sub-genre’s strictures altogether.

2015’s B.J. Burton-produced Ones and Sixes began an ongoing series of uncompromising and challenging material. With the critical success of Ones and Sixes, the members of Low wanted to go further with Burton and his aesthetic, to see what someone, who as Sparhawk has described as a “hip-hop guy” could do to push their music in radically new directions. Working with Burton has resulted in a completely different creative process: Instead of obsessively writing, revising and rehearsing in Duluth, before heading to the studio, the band went to  Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer. 

During the Double Negative sessions, they’d build pieces up, break them down and build them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slid deeper into madness and instability — and in some fashion Double Negative may be seen as a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s gorgeous harmonies sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it. 

The acclaimed Duluth-based JOVM mainstay’s 13th album HEY WHAT is out right now. Continuing their ongoing collaboration with B.J. Burton, the album finds Sparhawk and Parker focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, to the turn the duality of existence into modern day hymns we can share. The album’s 10 songs are individually built by their own undeniable hooks — but they’re turbocharged by the vivid textures surrounding them.

Over the past few months, I’ve written about three of the album’s previously released singles:

  • “Days Like These,” a disorientating track featuring hushed passages with strummed guitar fighting for space between dense layers of noise and distortion that accrete and then fall apart. The entire affair is held together by Sparkhawk and Parker’s gorgeous and slightly Autotuned harmonies, serving as a lifeline from the shore, thrown out to the poor soul just about to drown in the breakers. At its core, “Days Like These” is a yearning plea for meaning and peace in a world that’s completely mad and doesn’t make much sense. 
  • “Disappearing,” a meditative slow-burn centered around ebbing and waning feedback and distortion. Sparhawk’s and Parker’s yearning harmonies ride the uneasy crests and valleys of the song’s oceanic-like production. The song is an an aching meditation of loneliness, isolation and the unknown beyond all of this.
  • “More,” a disorientating track featuring heavily distorted and scorching power chords paired with Parker’s gorgeous lead vocal turn, singing lyrics expressing frustration while yearning — and demanding — more in a world that’s grossly unfair and inequitable.  

HEY WHAT‘s fourth and latest single, album opener “White Horses” continues a remarkable run of material that’s purposefully challenging, abrasive and uneasy yet breathtakingly gorgeous. With “White Hoses” Sparhawk’s and Parker’s gorgeous harmonies floating over scorching synth fuzz and feedback with bursts of shimmering strings peeking out. The song ends with pulsating and undulating synth tones — that may remind those children of the 80s and older of a busy tone on a dial-tone phone. (Sorry sir, the line is busy; it’s the end of the world, after all!)

Directed by Shane Donahue, the recently released video for “White Horses” features grainy tape-hiss fueled footage of wild horses on the plains.

Video by William Ruben Helms

New Video: Low Releases a Deeply Metaphorical Visual for Abrasive Yet Gorgeous “More”

Founded back in 1993, the acclaimed Duluth-based indie act  Low — currently founding members and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. While going through a series of lineup changes throughout their history, the band has consistently disapproved of slowcore term. And over time, they’ve managed to shrug off its stricture altogether.

2015’s B.J. Burton-produced Ones and Sixes began an ongoing series of uncompromising and challenging material. With the critical success of Ones and Sixes, the members of Low wanted to go further with Burton and his aesthetic, to see what someone, who as Sparhawk has described as a “hip-hop guy” could do to put their music in radically new directions. Instead of obsessively writing, revising and rehearsing in Duluth, before heading to the studio, the band went to  Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer.

During the Double Negative sessions, they’d build pieces up, break them down and build them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slid deeper into madness and instability — and in some fashion Double Negative may be seen as a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s gorgeous harmonies sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it. 

HEY WHAT, the acclaimed Duluth-based act’s 13th album is slated for a September 10, 2021 release through their longtime label home Sub Pop Records. Continuing their ongoing collaboration with producer BJ Burton,  HEY WHAT reportedly finds Sparhawk and Parker focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, to turn the duality of our existence into hymns we can share. The album’s ten songs are individually built by their own undeniable hooks — and are turbocharged by the vivid textures surrounding them.

In the lead-up the album’s release next month, I’ve written about two of the album’s released singles:

“Days Like These,” a disorientating track featuring hushed passages with strummed guitar fighting for space between dense layers of noise and distortion that accrete and then fall apart. The entire affair is held together by Sparkhawk and Parker’s gorgeous and slightly Autotuned harmonies, serving as a lifeline from the shore, thrown out to the poor soul just about to drown in the breakers. At its core, “Days Like These” is a yearning plea for meaning and peace in a world that’s completely mad and doesn’t make much sense. 
“Disappearing,” a meditative slow-burn centered around ebbing and waning feedback and distortion. Sparhawk’s and Parker’s yearning harmonies ride the uneasy crests and valleys of the song’s oceanic-like production. The song is an an aching meditation of loneliness, isolation and the unknown beyond all of this. 

“More,” HEY WHAT’s disorientating third and latest single is centered around scorching and heavily distorted power chords and Parker’s gorgeous lead vocal turn, singing lyrics expressing frustration while yearning and demanding for more in a world that’s grossly unfair and inequitable.

Directed by Julie Casper Roth, the recently released video for “More” metaphorically explores the Sisypeahn task of dismantling structural oppression though gender biases: Throughout the video, we see a pair of gloved hands attempting to take part and smash various parts and structures, only to discover that some things are very difficult to take apart.

Video by William Ruben Helms

New Video: Low’s Gorgeous and Intimate Visual for Meditative and Yearning “Disappearing”

Formed back in 1993, the acclaimed Duluth-based indie act  Low — currently founding members and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) with Steve Garrington (bass) — are considered pioneers of slowcore, an indie […]

Video by William Ruben Helms

New Video: Low Releases a Gorgeous and Intimate Visual for Yearning “Days Like These”

n 1993, the acclaimed Duluth-based indie act  Low — currently founding members and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) with Steve Garrington (bass) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. Despite the fact that the acclaimed indie act has gone through series of lineup changes throughout their history, they’ve consistently disapproved of the slowcore term, eventually shrugging off its strictures altogether while continuing to cement their reputation for a magnetic and powerful stage show centered around Sparhawk’s and Parker’s harmonies and heartbreakingly gorgeous material.

ne of the most uncompromisingly defiant, brazenly abrasive, challenging yet stunning albums of their expansive catalog. The trio worked with Burton on 2015’s Ones and Sixes and as the story goes, they wanted to go further with Burton and his aesthetic, to see what someone who as Sparhawk has described as “a hip-hop guy” could do to push their music in a radically new directions. Instead of obsessively writing, revising and rehearsing in Duluth before heading to the studio, the band went to Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer.

During those sessions, they’d build pieces up, break them down and build up them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slide deeper into madness and instability — and Double Negative may be a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s vocals sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it.

The acclaimed Duluth-based act’s 13th album HEY WHAT is slated for a September 10, 2021 release through their longtime label home Sub Pop Records. Continuing their ongoing collaboration with producer BJ Burton for the third time, HEY WHAT reportedly finds the trio focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, to turn the duality of our existence into hymns we can share. The album’s ten songs are individually built by their own undeniable hooks — and are turbocharged by the vivid textures surrounding them.

HEY WHAT’s first single “Days Like These” is a perfect example of what we should expect from the album’s overall sound and aesthetic: Disorientating and hushed passages with strummed guitar fight for space between layers of noise and distortion that accrete, build up and fall apart. The messiness is all held together by Sparhawk’s and Parker’s gorgeous yet slightly AutoTuned harmonies, seemingly serving as a lifeline from the shore, thrown to the poor soul drowning in the breakers. But at its core, the song is a yearning plea for meaning and peace in a world that’s completely mad and rarely makes much sense.

Directed by the band’s longtime friend and collaborator, director Karlos Rene Ayala, the recently released video for “Days Like These” is a stylish yet intimate look into the daily life of an older Black man in an extremely White place. While he may be lonely, this gentleman has his dignity, humanity and faith — seen with a Cadillac plastered with Biblical passages and time at a local church.

Single Review by William Ruben Helms

With the release of Oceans EP, Blonde Maze, the acclaimed recording project of New York-based singer/songwriter. electronic music artist and producer Amanda Steckler received attention from this site and elsewhere across the blogosphere for slickly produced synth pop centered around earnest lyricism, documenting her experiences, feelings and thoughts. Since Oceans EP, Steckler has released a handful of singles including “Antartica,” “Thunder” and others to praise from Billboard Pride, DJMag, XLR8R, Impose Magazine and many others, as well as love and support from BBC1, MrSuicideSheep, and MTV Radar.

Adding to a growing profile, Steckler’s material has landed on several Spotify and Apple Music playlists, including Spotify’s US Viral 50, as well as landing at #1 on Hype Machine‘s No Remixes chart. LADYGUNN named her an “artist you should’ve seen at SXSW 2018″ — and she’s opened for the likes of The Shadowboxers, Elderbrook and Vallis Alps. During that same period of time, the JOVM mainstay also released collaborations with a number of established and up-and-coming electronic music producers including including the Iowa City, IA-born, Duluth, MN-based electronic music artist and producer Kyle Stern, best known as Attom. 

The New York-based electronic music artist, electronic music producer and JOVM mainstay begins her 2021 with a cover of Mazzy Star‘s beloved, 1993 smash hit “Fade Into You.” While replacing the jangling guitars, twinkling keys and tambourine of the beloved original with shimmering and atmospheric synths, synth click and skittering beats, the Blonde Maze cover retains both vocal melody and the swooning and urgent yearning of the original — but the end result is more of a contented sigh.

“IMO it’s kind of a blissful/happy take on the beautifully yearning original,” Steckler wrote to me in an email. “I’ve been listening to the original for years — probably a decade now — and still love it. Hope Sandoval and David Roback really created a gem.”

Video by William Ruben Helms

New Video: The Cinematic and Lonely Visuals for JOVM Mainstays Atmosphere’s “Earring”

Throughout the course of this site’s nine-plus-year history, I’ve written quite a bit about about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere.  The act formed over 20 years as at trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere — and interestingly, whether as at rio or a duo, the JOVM mainstays have developed and maintained a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as its members find themselves inching towards middle age. 

2016’s Fishing Blues continued a string of insightful, mature material reflecting men that have seen and experienced more than they could possibly put into words. And while settling down into the much-deserved and peaceful bliss of family and art seems ideal, the world we inhabit has fundamentally changed in a frightening and uncertain fashion.

Unsurprisingly, Atmosphere’s seventh album Mi Vida Local thematically finds the pair grappling with their own mortality, the anxiety and fear that comes from the painful acknowledgment that you’re completely powerless and can’t possibly protect yourself, let alone your loved ones from the dangers of the world. And while arguably, the most thematically sobering of their growing catalog, their seventh album much like the bulk of their creative output is largely centered around Slug’s and Ant’s deep and abiding friendship. 

The Minneapolis-based JOVM mainstays spent the bulk of the past year touring to support their seventh album, including a Brooklyn Steel stop last year with labelmates, collaborators and fellow Minnesotans The Lioness and deM atlaS. Continuing a lengthy run of touring, the duo will be headlining the Wild Waters Music Festival, an effort to save the Boundary Waters at Bayfront Festival Park in Duluth, MN. But just before that the duo released Mi Vida Local’s latest single, the pensive “Earring.” Centered around an eerie, Ennio Morricone-like production featuring looping and shimmering guitars, and soaring vocal sample that’s spacious enough for Slug and Musab to trade deeply reflective bars, focusing on their troubled relationships and their roles in their relationships. And as a result, the song is imbued with the weight of adults honestly looking at themselves and taking stock of themselves and their lives. 

Directed by Colin Floom, the recently released and gorgeously cinematic visual for “Earring” is set the snowcapped peaks of Colorado and shows the song’s two emcees taking a lonely and arduous trek across the frigid terrain — and in the midst of such loneliness and beauty, it seems only natural that they would be forced to reflect on their lives and their decisions. 

women who kick ass by William Ruben Helms

New Audio: Philadelphia’s King Britt Teams Up with Low for a Lovingly Subtle Industrial Remix of “Fly”

Currently comprised of founding members, and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) along with Steve Garrington (bass), the Duluth, MN-based critically applauded indie rock trio Low initially formed back in 1993 — and although they’ve had their share of lineup changes, the trio have developed a reputation for being pioneers of a subgenre commonly called slowcore, which focuses on slowed down tempos and minimalist arrangements, centered around the gorgeous and achingly earnest harmonies of Sparhawk and Parker. While the band’s members have largely disapproved of the term slowcore, they’ve managed to eventually shrug off its strictures, recording a beloved Christmas album, as well as having a long-held reputation for a magnetic and powerful stage show. 

Last year, the band celebrated its 25th anniversary together and instead of comfortably going on a victory lap or even resting on the laurels of past accolades and achievements, the band released what may arguably be their most uncompromisingly defiant, brazenly abrasive, challenging and yet gorgeous album in their catalog to date, the B.J. Burton-produced Double Negative. The album, which continued their ongoing collaboration with the producer of Ones and Sixes found the band desiring to go even further with Burton’s aesthetic and sonic palette, to see what someone, who as Sparhawk has described as “a hip-hop guy” could really do with their music. 

Instead of obsessively writing, revising and rehearsing in Duluth, as they normally would do before heading to the studio, the members of Low went down to Eau Claire, WI with rough ideas and sketches that they would work with Burton on in what may arguably be among the most collaborative writing sessions with a producer they’ve ever had. During those sessions, Burton and Low would spend their time building pieces up, breaking them up, breaking them down again and building up again until the material found its proper purpose and force. Although it took them two years to write and record, Double Negative may arguably be considered — by future generations — as a document of our current sociopolitical moment — loud, contentious, chaotic, abrasive, jarring. The material finds Sparhawk’s and Parker’s vocals desperately fighting against an overwhelming tide of noise, other times submerged beneath it. And while the material is a decided and radical sonic departure, the band maintains the gorgeous and achingly heartfelt quality that’s their trademark. 

One of the album’s many standout tracks “Fly” is an eerily atmospheric yet stunning gorgeous track in which Mimi Parker’s vocals float ethereally over a bed of gently swirling, fluttering and glitchy electronics, shimmering guitars and twinkling keys.  The members of Low are about to embark on a relatively short tour that will include two New York area dates, September 13, 2019 at Basilica Hudson and September 14, 2019 at Murmrr — and just before their tour, they released a remix by Philadelphia-based producer and DJ King Britt. Interestingly, the King Britt remix continues the abrasive yet ethereal quality of the original and Mimi Parker’s gorgeous vocals while adding a decidedly industrial electro pop quality to the proceedings It’s a loving take on the material that’s one part continuation of the original’s intent and purpose, one part loving conversation between the remixer and the band. “As a longtime Low fan, a huge amount of respect went into the mix,” King Britt says of his remix. ” I loved their new sonic direction, which spoke to my Fhloston Paradigm project. My mix was a response and continuation in a way of a magical space they already created. Mimi Parker’s vocals were some of her best. A true honor.” 

Single Review by William Ruben Helms

Over the past couple of years of this site’s nearly nine-year history, I’ve written quite a bit about Blonde Maze, the solo recording project of New York-based electronic music artist, producer and singer/songwriter Amanda Steckler. Now, as you may recall Steckler has received attention across the blogosphere for crafting slickly produced, atmospheric synth pop centered by lyrics that give her material an earnest and swooning romanticism.

Interestingly, over the past year or so, the JOVM mainstay has been collaborating with a number of both established and up-and-coming electronic music producers —  including the Iowa City, IA-born, Duluth, MN-based electronic music artist and producer Kyle Stern. best known as Attom.  As the story goes, Stern quietly sharpened and honed his production skills while earning a degree in Informatics from the University of Iowa. After relocating to Duluth, Stern won remix competitions for Parade of Lights‘ “Golden” and Chromeo’s “Jealous.” Building upon a growing reputation, Stern’s first single “Glow” was picked up on the MrSuicideSheep YouTube channel and officially released on the Big Beat Ignition Miami 2015 Playlist, which he promptly followed up with “Cruise,” a track that was released through MrSuicideSheep’s Seeking Blue Records. Adding to a growing profile, Stern won a remix contest for Odesza’s “White Lies,” which led to his first ever live set at Bonnaroo Music Festival. Since then, Stern has released “Her,” which amassed over 500,000 steams across each of the streaming platforms and “Stay,” which amassed 300,000 streams in under a month.

Interestingly, Steckler and Stern’s latest single, the euphoric “Anywhere”  is a seamless synthesis of the duo’s individual sounds and aesthetic as Steckler’s aching and ethereal vocals are paired with a slick production centered around arpeggiated keys, shimmering synths, tweeter and woofer rocking beats, chopped up vocal samples and a soaring hook. Unsurprisingly, the song continues a run of swooning singles by the JOVM mainstay that accurately evoke the feelings of being ridiculously, passionately in love with someone — something that even the most cynical of us have felt. As Steckler explains in an email about the song, “It encompasses the euphoric feeling of being in love and the willingness to go lengths for someone even when you are struggling yourself. It portrays dreamy, upbeat, yet longing vibes, something we’ve both felt a mix of in our lives and know people can relate.”

Single Review by William Ruben Helms

Currently comprised of founding members Alan Sparhawk (guitar, vocals) and Mimi Parker (drums, vocals) along with Steve Garrington (bass), the Duluth, MN-based indie rock trio Low have a long-held reputation for slow-burning and heartfelt material comprised of minimalist arrangements, which showcase Sparhawk and Parker’s harmonizing. Just as the band was about to embark on a UK and Ireland tour in which they’ll be playing their critically applauded Christmas EP, the members of the trio released a Christmas season original “Some Hearts (at Christmas Time).” And  the latest single will further cement the band’s reputation for crafting slow-burning, minimalist and thoughtful indie rock in which a strummed, plaintive guitar motif and swirling electronics are paired with Parker’s ethereal vocals harmonizing with Sparhawk’s gently processed vocals in a song that looks at the close of the year with a hopeful look ahead.  Certainly, while this year has thrown many of us quite a few punches, there are a couple of things that we cannot forget — that through fate or plain dumb luck we’re still here to love, to dream, to fight yet another day; that sometimes hope may be the only thing that gets us out of bed; and that in difficult times, we may only have each other to depend on.

 

 

Uncategorized by William Ruben Helms

Based out of Duluth, Minnesota, If Thousands has developed a reputation for a unique brand of ambient drone. For is the band’s first release in eight years, and on the album’s first single “Lucky,” you’ll hear a […]

Uncategorized by William Ruben Helms

http://cdn.topspin.net/widgets/email2/swf/TSEmailMediaWidget.swf?timestamp=1354493804 The Duluth, MN-based band Low will be coming out with their 10th album on Sub Pop Records titled, The Invisible Way, and it’ll drop on March 13, 2013 here in the states. Wilco’s Jeff Tweedy […]