LOW
Live At Eindhoven EP - (2010)

On January 22, 2009, veteran post-rock band Low played a set at the St. Catherina Church in Eindhoven, The Netherlands. That performance was recorded and has been subsequently released as the free Live At Eindhoven EP. It boasts a more grandiose setup than the average Low show; its four tracks feature a five-person chorus, an extra keyboard player, and two musicians backing the band on percussion and vibraphone. The album succeeds in capturing the tangible and intangible qualities alike that make Low such a lovely, wrenching live band. Typically, members Alan Sparhawk, Mimi Parker, and Steve Garrington travel light and expand fiercely. Their live shows reveal that Low’s so-called “minimal” moments and its noisier outbursts are one and the same, or at least grow from the same tautness and precision. Low’s collaborators at Eindhoven must appreciate this, because they are gentle about finding their places within these songs. They color in the grandeur that already exists, rather than try to tack on extra. The chorus does not steer “Silver Rider” into “You Can’t Always Get What You Want”-style, where-did-that-church-choir-come-from overkill. In fact, for much of “Silver Rider,” it doesn't impede upon the vocal chemistry between Sparhawk’s steadiness and Parker’s tremolo. When the other singers kick in fully for the big “la-la” chorus, it expands the duo’s core harmonies, while still leaving a broad center lane for Sparhawk’s voice to pierce through. There’s another great exchange on “Silver Rider” between Garrington’s bass and Dominik Blum’s piano. They trade, and sometimes seem to lead each other into, delicate fills between the lines of the verses. They don’t pull off anything tricky or distracting, yet their interplay alone makes the song fuller than the version on The Great Destroyer. The other Great Destroyer track here, “Monkey,” gets a treatment that has the opposite effect. It’s still an ominous song — "tonight the monkey dies," after all — but here Blum’s organ and the interjecting harmonies in the chorus spread the tension around. It doesn’t blur the effect so much as pull back a layer, letting it sound more like a song about desperation and exhaustion. The track “July” pairs a second round of plush “la-la” vocal harmonies that with the aforementioned vibraphone. “July,” originally from Things We Lost In The Fire, is the kind of pretty song that teases you with just a hint of darkness. During the song’s last two minutes, the vibes and the vocals begin to chime in the background before ballooning to the fore in a wave of suspenseful restraint. Anyone who finds the full Eindhoven concert recording floating around on the Internet will hear more compelling arrangements between Low and its European pals. The track where the added musicians take the biggest risk, “Belarus,” features the chorus pulsing back and forth in a polished reproduction of the scarred-analog feel of Drums and Guns. Long version or short version, the Eindhoven recordings preserve one of the most incredible things about Low’s concerts: how the band manages to repeatedly reach epic crescendos without ever seeming pompous. “Laser Beam” helps the EP condense that effect into its short run time. Parker’s voice is alone in the church except for understated guitar and minimal harmonizing from Sparhawk and the chorus. As free souvenirs go, Live At Eindhoven is pretty damn rewarding. The unusual setting highlights what makes the band works so well: always supporting, never crowding. (alarmpress.com)

http://www.mediafire.com/?t1ohd44rco4d4pv

LOW
Paris '99 (Anthony, Are You Around?) - (2001)

Named after a friend of the band who was instrumental in bringing them to Paris, where this live album was recorded, Anthony, Are You Around? is a more representative account of a live experience with Low when compared to their first official bootleg, the diaphanous One More Reason to Forget. Though the vocals take up a little more than their fair share of the mix (which isn't really a distraction, given the spot-on performance of Mimi Parker and Alan Sparhawk), the band picked a superlative set to release. With a few refreshingly left-field selections from the band's catalog finding their way onto the set list, all of the subtlety and energy of their best gigs is preserved here.

http://www.mediafire.com/?7aixq458515v4pe

ALAN SPARHAWK
Solo Guitar - (2006)

Alan Sparhawk's first solo album is a significant departure from his primary band Low's slow-core sound. Recorded as some sort of live experiment, there is no real song structure, or indeed anything but the mercury waves and frenetic cries of a solo electric guitar. What results is an album that invokes a wide range of moods while also managing to be sonically consistent, allowing each piece to add to the unified whole. Largely the songs seem to be musical interpretations of the conditions surrounding a freighter's voyage; take the trio of "How a Freighter Comes Into the Harbor," "How The Weather Hits the Freighter," "...In the Harbor," for example. This is not fancy guitar work by any means, but rather an exploration into how a guitar's sound can be manipulated and mutated to create various atmospheres through unconventional methods, and very likely with the use of an arsenal of effect pedals. Sparhawk certainly achieves several unique, transcendent moments, especially in "Sagrado Corazon De Jesu (Second Attempt)" and "How It Ends." Occasionally, though, the lengthy washes of sound devolve into meandering repetition, even in a few spots to unlistenable noise, and this is when the project loses a certain amount of appeal. That said, it is still a fascinating statement through-and-through, devoid of conventional structure, but often fully captivating and emotionally poignant. (allmusic.com)

http://www.mediafire.com/?jmiojynjtjn

LOW
Murderer EP - (2003)

Murderer is a 10" EP released in 2003. Limited to 2000 copies worldwide. 1000 copies on black vinyl (not numbered )in the US, 500 copies on translucent red colored vinyl (numbered) in Europe, and the final 500 copies on clear vinyl, to be sold in a boxed set once the series of Vinyl Films 10" releases is completed. In addition to the 2000 declared copies, there exists "promotional" copies that were pressed on dark red/black swirl.

http://www.mediafire.com/?wrnazw3iymw

LOW
Christmas - (1999)

In their liner notes, Low hopes that their fans, "...will consider this our gift to you. Best wishes." Those who are already fans should be more than pleased with this little morsel. Throughout Christmas Low's trademark simplicity of instrumentation allows the listener to hear every nuance and crystalline detail. Beginning with "Just Like Christmas," we find the band at their poppiest with a drum sound and sleigh bells worthy of a restrained Phil Spector session. Mimi Parker's warm vibrato makes an irresistible mantra of the titular refrain. The album highlight "Blue Christmas" would have been doomed to a kitschy fate in most hands, but Mimi Parker's voice captures the broken-hearted melancholy of the original while eschewing any obvious Elvis references. The cover of "Silent Night" doesn't fare as well; the band fails to add anything of note to this holiday standard. Christmas also includes several songs that could alienate more secular listeners, especially "If You Were Born Today" which is chock-full of biblical references and paints an extremely despairing scenario on the fate of a contemporary Christ. Low does a rare thing in today's indie-rock milieu by refusing to survive on cynicism and worldliness alone. Whether or not one ascribes to their beliefs, the heartfelt and reverential beauty of their sound and lyrics are perfect for the holiday season. Christmas is a rich treat in a tiny package.

http://www.mediafire.com/?mnjtmntznbz

BOX SET
LOW
A Lifetime Of Temporary Relief: 10 Years Of B-Sides And Rarities - (2004)

The much revered Low at long last deliver an exhaustive, majestic and thorough compilation of B-Sides, rarities, outtakes and demos from 1993 - 2002 (10 years of their career). Featuring more than 53 songs assembled by the band, this box set contains 3 audio discs and a DVD (sorry, but i did not upload the DVD). ‘A Lifetime of Temporary Relief’ includes Low's first bedroom recordings (1993), all the way through to vinyl-only tracks from their CD, Trust (2002). Combined with a DVD that includes 11 Low videos, live footage and a series of documentaries, along with notes and images in a 32-page booklet compiled by the band, this box is not only a must for the seasoned Low fan, but also for anyone who wants to acquaint themselves with one of the most restrained, understated and important acoustic bands of the last decade. The most striking thing about this collection comes with the realisation that despite the vast tracklisting you never get the feeling that you're listening to second rate fillers - the quality is quite breathtaking, a testamant to the sheer vision and quiet brilliance of this wonderful band. Essential - a massive recommendation.

Disc 1

http://www.mediafire.com/?jjbmw0dmkzt

Disc 2

http://www.mediafire.com/?mwdyfnjzmmj

Disc 3

http://www.mediafire.com/?ntgmyjvml2n

LOW
I Could Live In Hope - (1994)

Like so many of their contemporaries, Low are repeatedly lumped into numerous derivative and nondescript headings intended to encompass slow-paced, instrument-driven music that maintains an indie aesthetic. Quite simply, no category can truly reveal the beauty and glory of Low's debut record I Could Live in Hope. Sad core? Not even close! I Could Live in Hope is an incredibly joyous journey of spirit and songwriting sensibility. The record remains patient and sparse throughout (just guitar, bass, high hat, and snare, and angelic vocals by the husband and wife team of Alan Sparhawk and Mimi Parker), but succeeds beautifully. Low truly behold the gift of understatement. Working with long-time producer and New York underground mainstay Kramer, Low examine their own fears and haunting experiences, occasionally linking them with Biblical references, while consoling listeners with warm layers of ethereal vocals and waves of guitar reverberation. Tracks are simple one-word titles but that's all that they require — too much information would spoil the record's elegance. And that's probably why they open the record with "Words," a song about the overuse and misuse of language, that sets the tone for the entire album, right up to their plaintive and passionate cover of "You Are My Sunshine." Every small nuance of production is evident — Sparhawk's fingers not quite connecting on a chord change or sliding over a fret and echoing infinitely — making I Could Live in Hope a true testament to both Low and Kramer's penchant for capturing the lushest of soundscapes.

http://www.mediafire.com/?jzw1izwcycg

LOW
Things We Lost In The Fire - (2001)

Over the course of their career, Low's glacially beautiful music has gradually melted into something much more accessible and intimate. The thaw culminates on Things We Lost in the Fire; despite its brooding title, it's the group's loveliest, most approachable collection of songs yet. Voluptuous strings, softly fuzzy guitars, and propulsive percussion suffuse songs like the sweetly melancholy opener "Sunflower" and the slo-mo pop of "Dinosaur Act" and "July" with a warmth and direction that Low's best work has always hinted at. Even the album's darkest moments, such as the tense, implosive "Whitetail," have more emotional urgency, heightened by Alan and Mimi's close, brooding harmonies. Yet Mimi's airy solo on the spare, undulating "Laser Beam" is equally spine tingling. Things We Lost in the Fire also features more of Low's understated stylistic experiments: The slightly jazzy harmonies and tempo of "Medicine Magazines" add a bit of swing to the group's usually steady rhythms, while "Kind of Girl" delves into earthy yet ethereal chamber folk. Breathtakingly gorgeous moments, such as "Like a Forest"'s pealing strings and poignant melody, and "Whore"'s build from delicate harmonies into a gently triumphant swell of guitars, vocals, and sparkling percussion reaffirm that Low have perfected and refined their sound. The finale, "In Metal," evolves from a melancholy ballad into one of the group's sunniest, most kinetic songs, mirroring the overall transformation of their music. A perfect match for its late-winter release date, Things We Lost in the Fire's slowly rising warmth and subtly hopeful tone not only make this Low's most cohesive, compelling collection, but one of 2001's best albums. (allmusic.com)

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335ca691405dc8268ec45