We haven't heard Low attempt to channel inner turmoil quite like this for a while, largely because of Alan Sparhawk's gradual easing up of the volume knobs. That now seems to have been taken into account and found a way to co-exist with a pace that doesn't quite match their earlier slowcore sketching out but boasts a hefty emotive pull and human connection. A certain extra layer of directness has come into their world map, Sparhawk and to a lesser extent Mimi Parker being far more willing to expose their hearts in express terms, so that even the distortion pedal exercises feel weepier. They're channelling intensity in a more focused way than they have for a while.
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