The Low Lows
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The Low Lows


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This band has not uploaded any videos


The best kept secret in music


"Live review"

"Monstrously sad and brilliantly anachronistic...
Three sparkling, slightly surreal rock icons that seem to have been
constructed out of feedback and white noise. Like werewolves mutating,
feedback drips from freshly exposed fangs... Then suddenly they return
to us, playing pretty, remorseful songs about the carnage they
caused..." - Los Angeles Weekly


"Breathtakingly gorgeous... refreshingly original... haunting and lovely... With exceptional songwriting, strong performances, and brilliant production, The Low Lows is nothing short of spectacular. " - Austin Chronicle

"Ohio Free Tines review"

"Wonderfully raw... Simultaneously visual and classic, it sounds like the '50s hit Earth Angel, if only it could be broadcast across a vast desert skyline...But what really pushes the album into must-have territory is the way in which singer Noone was able to evoke the pained, tremolo vocal style that contributed to Chris Isaak's masculine mystique, ultimately situating himself next to the literate, depressed greats like Galaxie 500, Yo La Tengo and the Magnetic Fields." - Ohio Free Times

"Chicago New City review"

"...masters of textured melancholy...psychedelia for barbituate users...delicately sad and downbeat...furry-puppy pop... sits somewhere between early Velvet Underground and the Cowboy Junkies...strangely alluring, even beautiful." - Chicago New City

"Cincinnati City beat review"

" Beautifully sad clouds of sound... Using chintzy keyboards and drum machines, the occasional guitar and vibraphone, and a great sense of melancholic melody,...The Low Lows make delicious, swinging mood music for the morning after ... the group draws from influences like the Velvet Underground and the Walker Brothers to concoct an entrancingly lo-fi pop noir that could very well be the sound David Lynch hears in his head when he falls asleep high - Cincinnati City Beat

"Flagpole review"

"Super-slow ballad style... transcendentally melancholy expression... brings back the apple-buttered makeout music of the 50's that rock and roll was never able to destroy. Like the better films of David Lynch, their art doesn't wallow in gooey nostalgia so much as it's the natural product of an anachronistic environment, worried not at all about being out-of-step with it's time.There's something definitely Lynchian about the blase pop-art narcosis purveyed by The Low Lows...It's Twin Peaks: The Graphic Novel, as conceived by Roy Lichtenstein." - Flagpole Magazine

"Big Takeover review"

"This is beauty and reality and lightness and the dark. This is a perfect movie, a never-ending soundtrack to make you smile as you remember some of the loneliest moments in your life." - The Big Takeover

"NY Post review"

"Perfect listening for those cold nights, with it's Yo La Tengo-esque atmospherics, hushed haunting vocals and other mood music surprises." - New York Post


"Fire On The Bright Sky" - Warm Electronic Recordings (USA ) Monotreme Records (UK/Europe) 16 September 2006


Feeling a bit camera shy


It's been a year since the resignation of Lily Wolfe closed the books on NYC dream-pop quartet Parker & Lily, and six months since the reconfiguration of the remaining members into an Athens Ga trio named (after Parker & Lily’s third and final album) The Low Lows. The sonic safety net (and soundtrack atmosphere) provided by Lily's bass and keyboards having been eliminated, what remains, in the new band, are sparse, melodic, country Palace-isms on the one hand, & on the other an evocation of the sweepingly noisy, anthemic styles of My Morning Jacket & Galaxie 500.

Singer & guitarist P.L. Noon's voice - formerly a sort of crooning mumble – has evolved radically over the past year into a high wail ("...epically mournful...")* evocative of Neil Young or Jim James. His lyrics tell troubled stories obscurely ("Biting turns of phrase... Noon has shaved his observations into lyrics so concise, they reach haiku-like proportions of succinctness... ")** with an exacting, reductive prose style ("A precise, poetic minimalism that says little and suggests everything, painting a radiant and desperate, slow-rolling panorama of unflinching extremes...")***.

Meanwhile, the fractured and fragmented drumming of Jeremy Wheatley & the distorted farfisa and sad baritone vocal harmonies of Daniel Rickard make The Low Lows' debut album a study in extremes. Stark southern sweetness gives way unexpectedly to great storms of guitar noise, bright walls of country narcosis crumble into climactic, stomping feedback and distortion. Pure melodic love-songs abound, made all the sweeter by virtue of being hemmed in by such a stormy darkness ("…sweltering sorrow... a triumph of concentrated mourning")****. The implicit tension, not to say violence, that underlaid Parker & Lily’s characteristically dense strata of organs and steel guitars has been made overt, stripped down & fashioned into a weapon.

The Low Lows’ live show is a more dishevelled but exhilarating beast, typically faster & much noisier than the albums, and pre-release european tours have already generated glowing response ("Monstrously sad & brilliantly anachronistic... here are three sparkling, slightly surreal rock icons that seem to have been constructed out of feedback and white noise… Like werewolves mutating, feedback drips from freshly exposed fangs... Then suddenly they return to us, playing pretty, remorseful songs about the carnage they caused...")*****.

Having made a pact among themselves to record & release three records in the space of a year, Rickard, Wheatley and Noon are currently in the studio putting the finishing touches to their second full-length, "Tigers", slated for release in January of 2007. The Low Lows will tour the U.S. in September/October (& Europe in November/December) of 2006.

* Fuoribattuta, Italy
** Splendid
*** Boston Phoenix
**** Athens Flagpole
***** El Pais, Barcelona