Low is an indie rock band that keeps calm and still.
People may think that ‘calm’ doesn’t really work with rock but Low has managed to keep it that way.
Low has persevered through the indie music industry’s growth.
Low has really kept to the ‘indie rock’ feel. While some strive to make it into the music industry, they lose their touch and what makes them unique. Low has managed to keep themselves how they want and be able to survive in the music industry. This shows that you can still keep true to yourself and not have to change your style to reflect ‘industry standards.’ Now that is how you defend yourself and your music.
Go through the article down below to getÂ the Low-down.
To say in public that Low might be Minnesota’s last truly great, sustainable indie-rock band is to evoke dead silence and blank stares, the unmistakable sound of a needle dragging across a record, and someone politely taking your beer cup away while asking you to leave. It’s OK, I’ve been kicked out of parties before. It doesn’t make it any less true.
Low came into existence right around the time the now quaintly ridiculous catch-all term â€œcollege rock” went the way of the dinosaur. The distinctly ’80s term seemed to refer to any band, regardless of actual sound or genre, so unmarketable that it was deemed only good for college radio, dorm room bong rips, and occasional late-night spins on MTV’s 120 Minutes. In the early ’90s, just as Low began, “college rock” was cleaved in two by the crushing battle axe of grunge, with â€œalternativeâ€ falling on one side of the chopping block and â€œindie rockâ€ firmly on the other.
The Cain and Abel of popular music, â€œalternativeâ€ seemed to encompass anything that might might fall into this new, post-Nirvana world of â€œstuff that seems to sell to these kids.” â€œIndieâ€ zigged left to become the natural inheritor of its college-rock parent: A type of music defined (intentionally or otherwise) by unique takes on melody, dynamics, and production that linked bands whose connections, in afterthought, were tenuous at best.
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Low exemplifies that left turn as well as any act to come out of the post-grunge class of ’93. Long beforeÂ Low’s 2013’sÂ contentious Rock The Garden setÂ that practically broke the fingers of an angry internet commentariat, the Duluth band firmly established themselves as innovators and iconoclasts within American independent music.
Think about it: If â€œindie rockâ€ speaks to those disparate post-grunge, alt-reactive sounds united primarily by their defiance of characterization, is it even a relevant term in today’s fast-information, hyper-stylized era? An era in which a single song grows a new subgenre overnight? In our extended Twin Cities/Minnesota music scene, what better, more enduring candidate do we have for the last great Indie Standard Bearer?
Low’s presence defies the easy categorization of â€œlocalâ€ vs. â€œnationalâ€ acts. Hell, by stubbornly retaining their distinct Duluth-ness, they have defined â€œMinnesota musicâ€ far more than many Twin Cities acts over the years who’ve either focused on developing national followings or skipped town entirely.
StreeXB extends gratitude to City Pages for this article. Click hereÂ to read the article.
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