| Artist |
Low |
| Album Title: |
Long Division |
| Album Cover: |
 |
| Primary Genre |
Alternative & Punk: Snore-Core |
| Format |
CD |
| Released |
05/23/1995 |
| Label |
Vernon Yard Recordings |
| Catalog No |
YARD CD14 |
| Bar Code No |
0 1704-68014-2 3 |
| Packaging |
Jewelcase |
| Tracks |
| 1.
|
Violence (5:54)
|
| 2.
|
Below & Above (2:32)
|
| 3.
|
Shame (3:56)
|
| 4.
|
Throw Out The Line (4:05)
|
| 5.
|
Swingin' (4:10)
|
| 6.
|
See-Through (4:25)
|
| 7.
|
Turn (5:08)
|
| 8.
|
Caroline (4:48)
|
| 9.
|
Alone (4:00)
|
| 10.
|
Streetlight (0:35)
|
| 11.
|
Stay (7:04)
|
| 12.
|
Take (2:32)
|
|
| Date Acquired |
08/20/1995 |
| Personal Rating |
 |
| Acquired from |
Roadrunner Records |
| Purchase Price |
12.00 |
Web Links |
All Music Guide Entry:
Discogs Entry: |
Notes |
Produced and engineered at Noise New Jersey, November '94
℗ & © 1995 Vernon Yard Recordings, a division of Virgin Records America, Inc.
Published by Chair-Kicker's Music (BMI).
Printed in the USA.
A&R – Liz Brooks
Bass – Zak Sally
Engineer – Kramer
Engineer [Assistant Engineering] – Jed Rothenberg
Guitar, Vocals – Alan Sparhawk
Percussion, Vocals – Mimi Parker
Photography By [Cover Photo] – Zak Sally
Photography By [Live Photos] – Jessica Bailiff
Producer – Kramer
Sleeve – Low, Tom Dolan
Written-By – Low
foobar2000 1.3.9 / Dynamic Range Meter 1.1.1
log date: 2016-03-03 03:49:33
--------------------------------------------------------------------------------
Analyzed: Low / Long Division
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR10 0.00 dB -13.18 dB 5:55 01-Violence
DR9 -2.36 dB -15.22 dB 2:32 02-Below & Above
DR9 -1.57 dB -14.66 dB 3:57 03-Shame
DR11 0.00 dB -13.36 dB 4:05 04-Throw Out the Line
DR9 0.00 dB -11.75 dB 4:10 05-Swingin'
DR14 0.00 dB -19.26 dB 4:26 06-See-Through
DR10 0.00 dB -15.15 dB 5:08 07-Turn
DR10 0.00 dB -14.83 dB 4:48 08-Caroline
DR11 0.00 dB -14.16 dB 4:00 09-Alone
DR11 -3.93 dB -18.32 dB 0:35 10-Streetlight
DR13 0.00 dB -17.47 dB 7:04 11-Stay
DR10 0.00 dB -11.65 dB 2:32 12-Take
--------------------------------------------------------------------------------
Number of tracks: 12
Official DR value: DR11
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 755 kbps
Codec: FLAC
================================================================================
|
|
| Reviews |
All Music Guide Review:
Review by John Bush
It's not just Kramer's production that gives Low the feel of snooze-rock champions Galaxie 500. The male vocals (provided by guitarist Alan) are lazy, wistful, and occasionally disappointed, alternately sounding like Dean Wareham and Michael Stipe. Red House Painters, the closest touchpoint for the minimalist accompaniment to Long Division, just can't compete with Low's bare, soul-searching oblivion. "Caroline" by itself is better than anything Galaxie 500 produced.
AllMusic Review by Fred Thomas
With the molasses-slow ringing of the opening chords of "Violence," Low arrived. The Duluth, Minnesota band had formed two years earlier in 1993, and issued its quietly joyful debut, I Could Live in Hope, in the interim, but sophomore record Long Division saw the band stripping down its already unprecedentedly spare instrumentation to create an atmosphere so lonely, patient, and narcotic that the album created the sensation of being awake in a sad-hearted dream. On their debut, Low's sound was informed by their minimal instrumentation, with guitar, high-register bass notes, and a two-piece drum kit providing the backdrop for Alan Sparhawk and Mimi Parker's angelic harmonies and Kramer's spacious production. The songs on Long Division take that minimalism even further, slowing the tempos and implementing so much negative space that the instruments sometimes fade into complete silence in the space between sparse notes or drum hits. The otherworldly slowness of songs like "Shame" and "See-Through" are representative of the radical amount of space that defines the album, gliding gracefully as a falling leaf floating slowly on the wind. Low were born out of a reaction to the aggressive trudge of early-'90s grunge, so the songs are slow but never plodding. A song like "Turn" begins with a somewhat menacing lurch, but slowly blooms into a mysteriously hopeful climax. Contemporaries like Red House Painters and especially Codeine worked in similar muted colors and pensive tempos, but Low managed to exist outside of the often depressive themes of their peers. Practicing Mormons, Sparhawk and Parker often intoned their understated songs with vaguely religious undertones, hinting at retribution and redemption with foreboding atmospheres and heavy vibes more than overtly cautionary lyrics. The combination of Low's groundbreaking approach to elongating traditional pop music structures paired with Kramer's equally extreme reverb and Echoplex colorings congeal into one of Low's most brilliantly atmospheric statements, and perhaps the most dire in what would be a career that spanned decades. Long Division is a masterwork, somehow simultaneously achieving lushness and emptiness, embodying hope and heartbroken despair with equal force.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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