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BIO

C’mon is the shortest title of any Low album, which seems fitting, as it also ranks among the most succinct and straightforward entries in their variegated discography. Singer-guitarist Alan Sparhawk has even perfected the “elevator pitch” for C’mon: “Recorded in an old church in Duluth, MN and mixed in an apartment in Hollywood, CA.” But that brief synopsis hides universes. To get to the heart of this album, we must delve deeper into both halves of the creative journey of C’mon.

Comprised of new material written on and off the road, the ten-song set was recorded in a former Catholic church, aka Sacred Heart Studio (where the band previously crafted 2002’s Trust). Sparhawk says Low deliberately seeks out circumstances that will generate challenges and happy accidents, breaking them out of established patterns. “We like to work in situations where there’s a character, whether that’s the time period or who we’re working with. A lot of times, the space can set that tone.”

In this case, they took advantage of the venue’s high, vaulted ceilings, natural reverb, and audible affinity for organ sounds—bassist Steve Garrington is quite adept on keyboards, too—and group singing. The thunder-crack percussion that peppers the final minute of the slowly unfolding “Majesty/Magic” is just one example of this dynamic in action. Sparhawk and singer-percussionist Mimi Parker already get to enjoy playtime at home with their family, but now that childlike freedom of expression translated into work. “We had toy drums, and boxes, and big, beat-up kick drums laid out everywhere, and were just hitting them in the middle of the room and listening to how it sounded, and using that as accents here and there.” The space…

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