As
their third full-length for Kranky, Low's Trust could be written off as
sounding too much the same as previous releases. However, like the
subtlety of Low's music itself, Trust is a carefully constructed masterpiece.
The band pulls in their reverb heavy sounds and mixes them with resplendent
golden harmonies. One of the most notable features of this record is the
heavy bass sound; it is firm, solid, and so very low, but without rumbling,
perhaps alluded to by the inclusion of the song "John Prine," the '70s
era singer/songwriter fascinated by bass sounds. There are so many
melodic gems on this record, songs that are memorable after only a few
listens. Low's past recordings seemed more atmospheric, but Trust
ups the ante and engages more than just my subconscious. Mimi's high
background vocals harmonize with Alan's verse and chorus on the beautiful
"In the Drugs," where the band is not afraid to lose their rhythm section,
incorporates a  ghostly
keyboard and heavily reverberating banjo in just the properly selected
moment. "Last Snowstorm of the Year" recalls Low's brilliant Christmas
album, beginning with sleigh bells and including a faster paced rhythm.
My favorite stretch of the album is a superb three-song run: "Little Argument
with Myself", "La La Song" and "Point of Disgust." "Little Argument
with Myself" is perhaps the most tense moment on the album, crescendoing
from whispers into a near screaming sensation before falling back once
again. "La La Song" is most surely the melodic high point of the
record, calling to mind Simon & Garfunkel with Mimi playing Art to
Alan's Paul. The vocals are mixed so very high over acoustic guitar
and a hand-clap rhythm section. On the final "la la" choruses, there
is even the crashing metal sound from "The Boxer," an inclusion that makes
me wonder if it is an intentional reference, or perhaps a subjective connection
made by my ears. On the following "Point of Disgust," the roles are
reversed with Mimi singing the leads and Alan providing Garfunkel-ish distant
harmonies. "Shots & Ladders" closes the record in the beautiful,
experimental, reverb drenched sound more in touch with "Songs for a Dead
Pilot" than other Low releases. That ep held some of my favorite
Low moments and it is wonderful to see a something of a return to that
more melodic record. To me, Trust is quickly setting itself apart
from other Low records. The songs have a classic quality to them,
being wonderful pop songs translated into Low's perfectly somber mood.
It
is no small matter that Tchad Blake mixed this record. A recent story
Tape Op revealed the Trust recording process, which enhanced my knowledge
of the album and what to key on for future listens. Apparently Blake
is known for his more straight-forward, clean production and Low brought
reels to the table filled with a variety of additional tracks, allowing
for Blake to mix in and out how he pleased. The biggest surprise
was that he went with many of the heavily effected sounds on the album,
not afraid to embrace the experimentation that has characterized a large
portion of the Low catalog. In any case, I would recommend this article
as a way to highlight the listening experience.
The
only crime that Low is really guilty of here is the hideous album design.
The cover of Trust (with the very creepy dangling arm) is a great improvement
over the murky Things We Lost in the Fire, but the inside layout text is
some sort of travesty against graphic design. It's almost sickening.
Can't someone help these folks out?
If
you are not a Low fan, this is worth investigating. If you have an
interest in melodies and harmonies it's definitely worth your money.
The band is at the top of their game here. Don't expect the same
songs played in the same tired style. What's obvious is that Low's
made a welcome adjustment, wonderfully stretching the boundaries of their
sound.
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