Trust

1	(That's How You Sing) Amazing Grace 7:13
2	Canada 3:44
3	Candy Girl 4:37
4	Time Is the Diamond 5:30
5	Tonight 4:05
6	The Lamb 7:12
7	In the Drugs 4:25
8	Last Snowstorm of the Year 2:16
9	John Prine 7:54
10	Little Argument With Myself 3:04
11	La la la Song 3:25
12	Point of Disgust 3:25
13	Shots & Ladders 7:51

Barnes & Noble

Duluth, Minnesota, "slow-rock" trio Low have never sounded better -- or more dynamic -- than on Trust, their sixth album. When they emerged in the mid-'90s with a spare but fully formed sound -- glacially paced songs nudged forward by Mimi Parker's probing percussion, Adam Sparhawk's shimmering guitar lines, and the couple's gently interlocking harmonies -- it was difficult to imagine where they'd take it. But eight years on, Low have incrementally intensified their sound, tenaciously fleshing out what works and leaving the genre-hopping to others. Producer Tchad Blake, best known for twiddling knobs behind Sheryl Crow, Los Lobos, and his own Latin Playboys, sets the group loose against delicate sonic backdrops that sparkle with riveting texture. On the sublime "Tonight," for example, Parker sings solo atop a mesmerizing sound bed made from swooning guitar noises -- no drums at all. Elsewhere, however, percussion is king, as on the unsettling "I Am the Lamb," which harkens back to Blake's work on Tom Waits's Bone Machine, or the sprawling "(That's How You Sing) Amazing Grace," which pits an insistent drum beat peppered with bells and whistles (literally) against Sparhawk's sustained guitar lines and the pair's sweetly gelled harmonies. As if to reinforce their music's latent power, the trio rock out on "Canada," which buzzes with a shoe-gazing fervor that suggests prime My Bloody Valentine. With a distinctive sound and a low-key passion, Low are true originals. Lydia Vanderloo

All Music Guide

As the follow-up to Low's universally acclaimed Things We Lost in The Fire, Trust comes with a set of expectations that might be impossible to meet. To the band's credit, Low doesn't just rehash the territory they covered on their previous album; instead, Trust goes in several different directions, mixing dark, sweeping epics with smaller, unpretentious songs and eclectic productions (courtesy of Tchad Blake) and arrangements. It's Low's most diverse work yet, but as it turns out, also their most uneven, which is somewhat surprising considering how their previous album was both consistently inventive and familiar. The chilly, almost ominous tone that pervades Trust is also something of a surprise, compared to the relatively optimistic Things We Lost in the Fire -- the album-opener, "(That's How You Sing) Amazing Grace," subverts one of the most reassuring hymns, offering only the cold comfort of twangy guitars and Alan Sparhawk and Mimi Parker's close, tentative harmonies. The band follows that song with "Canada," which, with its dense, fuzzed-out guitars and propulsive drums, is the most rock song they've ever done, and especially unique considering the electronic leanings Low displayed awhile ago. Most of Trust follows this pattern, alternating a slow, sinuous song with a brighter or lighter one. When this chiaroscuro approach works, it's impressive, but more often than not, it doesn't quite come off. Though some of the album's darker songs are compelling, such as the soulful, brooding "Time Is the Diamond," "Little Argument With Myself," and the droning finale "Shots and Ladders," a few are just too long and dirgey. "I Am the Lamb," an unusually anguished song even for Low, is too subdued to sustain attention at just over seven minutes, despite its slow-burning, funereal menace; likewise, "John Prine" has a doomed grandeur to it, but its eight-minute length doesn't pay off. On the other hand, Trust's lighter moments feel like breaths of fresh air compared to the more oppressive songs -- the fragile, trippy prettiness of Parker's "Tonight" and the sweet, campfire-ready "La La La Song" are equally beautiful and unpretentious, and all the more appealing because of that. It's not until the second half of Trust that it really gets off the ground, but once it does, it makes the lengthy preamble worthwhile. The subtle harmonica and banjo flourishes on "In the Drugs" and the Phil Spector-esque production on "Last Snowstorm of the Year" mix Low's steadfast melodic sensibilities with Blake's colorful approach, while "Point of Disgust"'s beautiful vocals and simple, piano-driven arrangement showcase the band's spareness at its best. While Trust is uneven, its high points still outweigh the occasional slip into boring, dirgey territory. Fans will certainly agree that a slightly disappointing Low album still has more going for it than most other releases. Heather Phares