Low – Double Negative

An up and down offering

Double Negative by Low is a mixed bag. On the one hand, the band explores a variety of abstract sounds and uses of ambient noise that give the album a unique character. On the other, the droning repetition and harsh, raw noises can become quickly tiresome depending on the listener’s taste. There are moments of brilliance scattered throughout and a few tracks that ensnare the listener into a hypnotic daydream. But these moments are too often drowned out by the sound of noise for noise’s sake.

Double Negative pulls no punches about its intentions right from the jump. The opening track “Quorum” begins with a pulsating, crackling sound that is downright strange. It’s unclear exactly what the intention is, but the effect wears off quickly given that it sounds more like a blown-out speaker than anything else. However, the use of volume swells on the vocal track is a nice touch, giving the song a choppy-yet-effective dynamic. “Quorum” is somewhat ominous and dissonant, and it would fit seamlessly into the trailer of a sci-fi thriller.

“Dancing and Blood” is another dark, eerie tune led by a driving beat that sounds like a beating heart working double time. Low use abstract sound more effectively in this track, but the mix is somewhat poor and the vocals are difficult to understand, though this was likely a stylistic choice. The outro features a droning sound and deep, ominous vocals that sounds like Supreme Leader Snoke’s theme by John Williams from Star Wars: The Force Awakens. There are cool little moments like this scattered throughout, but they’re really weighed down by the length of the songs, and the one-dimensional nature of building songs out of abstract noise.

Just two songs in, it seems as though Double Negative would work better as a film score than it does as a standalone record. It’s vivid and surreal, but it’s also abstract, and these songs might be more effective if they were paired with a visual art medium to create a more cohesive picture.

“Tempest” gives the album some flare with heavily modulated vocals that evoke some combination of alien and robotic imagery. This is a cool effect, but it ultimately grows stale as the song wears on past the four-minute mark.

“The Son The Sun” serves as a reminder of how cinematic Low can be. The band returns to a foreboding, creepy sound and this track sounds like it could be part of the soundtrack for a video game in the Halo franchise.

Towards the end of the record, the penultimate track “Rome (Always In The Dark)” is a true standout, and perhaps the best song on Double Negative. It’s dark and ominous like many of the other tracks, but it’s less abstract and more musical. It’s catchy to the point of resembling a radio hit in the vein of “Sail” by AWOLNATION.

Ultimately, Double Negative is a divisive record that will largely come down to personal taste. Those who are fond of catchy melodies and the tonal characteristics of mainstream indie rock are probably in the wrong place. But fans of the experimental, the abstract and the outright weird will find a home in Double Negative. It often drags its feet and gets lost in the vast, droning smorgasbord of sound Low have crafted, but there are flashes of excellence and a few quality tracks that make Double Negative worth a listen.