On September 14th, in the faithfully defiant fashion of their 25-year career, Low will release Double Negative, its most brazen, abrasive (and, paradoxically, most empowering) album. As a prelude to the full-length album, Low presents a triptych video for the opening songs of the album. Each video can also be watched independently:

 

“Quorum” [watch here]

“Dancing and Blood” [watch here]

“Fly” [watch here]

                                                           
To make Double Negative, Low reenlisted B.J. Burton, the adventurous producer who in recent years has made records with Bon Iver, Lizzo, and Francis and the Lights. Returning once again to Justin Vernon’s April Base studio in Eau Claire, Wisconsin (where they recorded 2015’s Ones and Sixes) Alan Sparhawk, Mimi Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds: they wanted to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do with their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative co-writers, building the pieces up and breaking them down until their purpose and force felt clear.

Following summer shows in the UK, Germany, and Poland, the band will embark on a first leg of touring in support of the new album with a two-night stand at National Sawdust in New York City. See below for a full list of tour dates, with more to be announced in the coming weeks.
                                                                       
Tour Dates:
Jun. 19 - Leeds, United Kingdom - Brudenell Social
Jun. 20 - London, United Kingdom - Queen Elizabeth Hall  (Robert Smith’s Meltdown Festival)
Jun. 23 - Duisburg, Germany - Traumzeit festival
Jun. 25 - Munich, Germany - Ampere
Jun. 26 -  Dresden, Germany - Beatpol
Jun. 29 - Bialystok, Poland - Amphitheater of the Podlasie Opera and Philharmonic (Halfway Music Festival!)
Sep. 20 - New York, NY - National Sawdust
Sep. 21 - New York, NY - National Sawdust
Sep. 29 - Lisbon, Portugal - Lisboa ao Vivo
Oct. 1 - De Compostela Santiago, Spain -  Sala Capitol
Oct. 2 - Madrid, Spain - Sala But
Oct. 3 - Barcelona, Spain - Fabra i Coats
Oct. 5 - Milan, Italy - Teatro Dal Verme
Oct. 6 - Zurich, Switzererland - Bogen F
Oct. 8 - Leipzig, Germany - Conne Island
Oct. 9 - Berlin, Germany - Festsaal Kreuzberg
Oct. 11 -  Brussels, Belgium -  Orangerie (at Botanique)
Oct. 12 - Amsterdam, Netherlands - Paradiso
Oct. 13 - Paris, France - La Gaîté Lyrique
Oct. 15 - Bristol, UK - Trinity
Oct. 16 - Manchester, UK - Manchester Cathedral
Oct. 17 - Manchester Cathedral - Vicar Street
Nov. 02 - St. Paul, MN - The Fitz
Nov. 03 - Davenport, IA - Daytrotter
Nov. 05 - Detroit, MI - El Club
Nov. 06 - Toronto, ON - Great Hall
Nov. 08 - Montreal, QC - La Sala Rosa
Nov. 09 - Boston, MA - Brighton Music Hall
Nov. 10 - Philadelphia, PA - Underground Arts
Nov. 12 - Washington, DC U Street Music Hall
Nov. 13 - Pittsburgh, PA - The Funhouse
Nov. 14 - Cleveland, OH - Grog Shop
Nov. 16 - Chicago, IL - Rockefeller Chapel
Nov. 17 - Madison, WI - High Noon Saloon

Pre-orders of Double Negative through megamart.subpop.com and select independent retailers will receive the limited Loser Edition on crystal clear vinyl with an enclosed full-color flat of album artwork. The album cover for Double Negative was created by longtime collaborator, English artist, Peter Liversidge.

Double Negative
Tracklisting:
1. Quorum
2. Dancing and Blood
3. Fly
4. Tempest
5. Always Up
6. Always Trying to Work It Out
7. The Son, The Sun
8. Dancing and Fire
9. Poor Sucker
10. Rome (Always in the Dark)
11. Disarray

[Photo Credit: Shelly Mosman]

More on Low’s Double Negative by Grayson Currin:
In 2018, the band Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.
 
To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.
 
This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion.
 
During the immersive “Dancing and Blood,” Parker slowly comes into focus, as if singing from the wind-ripped mouth of a cave. Parker appears to beat back disaster for “Fly,” her soulful vocals curving into and above Garrington’s bold bassline as Sparhawk’s own signal cuts in and out. Elsewhere, though, songs like “Always Trying to Work It Out” and “Tempest” threaten to swallow the pair whole, their overwhelming quakes of dissonance aiming to silence them once and for all. Sometimes, Sparhawk and Parker are stuck in the Sisyphean middle, capable of neither failing nor forging ahead. During the brilliantly conceived “Poor Sucker,” written in large part by Garrington, their voices suggest skiffs stuck on some turbulent sea, falling beneath and rising above the cacophony with seasick irregularity. In this frustrated song of self-defeat, Low lists all the ways they could have made their lives matter. It is a eulogy of could-have-beens for a time that won’t really let you be.
 
As “Rome (Always in the Dark),” a march that forces its way through the din with damn-the-torpedoes tenacity, fades toward a rare silence, a pulse sculpted from a shard of noise emerges, flashing from a distance like the safety of a life raft. It rises into a steady thump, with Sparhawk and Parker floating above it in crystalline unison: “Before it falls into total disarray/You’ll have to learn to live a different way,” they sing, their melody forming a tightrope of despair and delight. In some ways, it’s a warning of the bad times to come. But it’s also a promise that we’re more powerful and adaptable than madness itself, that we have the ability to persevere. During the song’s back half, Sparhawk and Parker don’t say anything. They instead lock into august harmony and glide between notes, Parker’s purely ascendant tone pulling Sparhawk’s falsetto skyward. It is an exquisite and triumphant moment, an exhalation after all the damage and din.
 
In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?