An experimental edge to rock music
Low’s newest album Hey What is a testament to the power of experimental rock, going even deeper than its predecessor. The choice that the band took to dive even more into experimental sound is thoroughly embraced into a fully-realized soundscape that takes elements from other genres and truly makes it their own. Oddly enough, it seems fitting to make a connection to more hip-hop experimental groups to this record due to the sheer intensity of the music that people get. It is cohesive in a way that does not override any of the talents, a balance delicate enough that largely has toed the line in recent years. Instead, the band ensures that everything is done with great detail to prevent a sort of overwhelming density of reverb that prevents it from being engaging to listen to.
The instrumental opening to “White Horses” reminds one more of a Death Grips instrumental rather than a traditional rock song just by the intensity of it. It is loud, aggressive and punctuated throughout. With distorted electronic loops, heightened reverb and brooding production, Low’s opener cements their newer embrace of electronica. Every bit of it seems a bit eerie, with the more quiet vocals against the dark instrumentals. It seems almost choral compared to the dense melody. Perhaps the most impressive part of the song is its rapidly accelerating beats in its instrumental break, where its repeated skips make a phenomenal bridge into the next track. The seamless transition is an admirable one that makes the album seem more cohesive.
“Disappearing” begins as more of a diversion on the record compared to the tracks that precede it, due to more focus on its lyrics. However, the bellowing loop of the base creates an experimental edge that prevents it from being completely lost in its electronic soundscape. That is until the song takes a drastic turn to a more distorted vocal performance. As the bassline crackles away, the vocals become more choppy. Descent into this sound creates a much more sonically interesting work, before falling into the shining opening of “Hey.”
The longest song on the album, “Hey” seems not long enough. It is easily the best track on Hey What, as it embraces an interesting use of autotune on its backing vocals to make a call-and-response that creates a devastating portrayal of loss. Its instrumental breaks give a more nuanced, interesting listen beyond a traditional rock ballad. All of its choices work, as disingenuous as it might seem on the surface. It is a work that combines more naturalistic instrumentals such as violins into electronic music in a fascinating blend. Unlike many albums that often lose themselves in lengthy tracks, this seems to grow in power as it continues. In fact, it could be in contending for one of the best rock tracks this year. It is simply that interesting, that powerful to listen to. Not a moment feels wasted.
“Don’t Walk Away” uses few words in a beautiful way. It is more of a dream-pop sound than that of the more instrumentally dense pieces. The anxieties of loving someone come to the fore with its dreamy use of vocals. The more natural timbre of the vocals is different from the rest of the album, as only its instrumentals delve into the album’s characteristic reverb. Thus, this allows the love ballad to truly glean the most meaning from listeners. It is a beautiful track in its own right, going back to more minimalistic roots.
In closing the album, Low’s “The Price You Pay (It Must Be Wearing Off)” is a near-perfect closing to the album. It calls back to its opening instrumentals in a way that prevents it from being repetitive. It does not try to give more instrumentals beyond what is necessary, and its drum work additions are certainly a welcome touch in its lengthy closing. It is a powerful work that does not let experimentation prevent it from being lost in the noise. Hey Now is a great album that truly understands its purpose. Every act is intentional and enjoyable to listen to. Even with many instrumentals, it does not seem to slow at any moment; this album is truly a great addition to this year’s rock albums.
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