C’mon is the shortest title of any Low album, which seems fitting, as it also ranks among the most succinct and straightforward entries in their variegated discography. Singer-guitarist Alan Sparhawk has even perfected the elevator pitch for C’mon : Recorded in an old church in Duluth, MN and mixed in an apartment in Hollywood, CA. But that brief synopsis hides universes. To get to the heart of this album, we must delve deeper into both halves of the creative journey of C’mon.
Though over three years have passed since the release of their last album, Low has not been idle. Parker and Sparhawk devoted a long stretch of time to writing and performing music for Heaven, a contemporary dance piece by choreographer Morgan Thorson; that work’s emphasis on group singing would prove especially influential on C’mon . The band’s public profile has risen, too, thanks to Robert Plant covering two songs from their 2005 full-length The Great Destroyer on his 2010 solo album Band of Joy , and garnering a Grammy nomination for Best Solo Rock Vocal Performance for his interpretation of Low’s Silver Rider. Plant has praised the band in periodicals from MOJO to Rolling Stone (RP in RS: I’m not sure if the album would have worked without them) but Sparhawk was simply flattered by their inclusionwhich he didn’t learn of until after the Led Zeppelin front man’s disc was completed. Having one of the best singers in the world sing your songs is okay by me, he demurs.
And should having a light shone on their band by one of rock’s best-known artists direct some new listeners to Low, the attention couldn’t be timed much better. Without curtailing their artistry one iota, the trio has made one of its most accessible albums to date in C’mon . Its origins may lie in a church in Minnesota, an apartment in Hollywood, and the hearts of the modest individuals who created it, but the resulting music has the capacity to resonate deeply with audiences everywhere.