I started Mental Jukebox nearly three years ago at the beginning of the pandemic. During this time, I’ve discovered new music, rediscovered old favorites and I’ve met passionate music fans around the world. And when things opened up, I kept on blogging. This month, the jukebox goes deeper. The term “deep cut” has multiple meanings. It can refer to lesser known album tracks from well-known artists. It can also refer to tracks from lesser known artists. This month, I’ll be featuring both types. #DeepCutsFeb
It is a bit ridiculous how many decades passed before I finally discovered this album. I love it now, but I can’t imagine the power it would’ve had on me had I listened to it during its era. It is the antithesis of two prevailing genres at the time: the loud, thrashing guitars of grunge rock and the feedback-soaked noise of shoegaze. Low’s debut record must’ve sounded strangely stark and naked in that era. It is how Low made a name for itself in the indie scene - that minimalist approach and, of course, those haunting harmonies from Alan and Mimi. God rest her soul. She’s still here when I play I Could Live In Hope once again in its entirety, which winds down with the treasured deep cut “Drag”.
“Drag” appropriately drags itself out in space with snare brushes dotting a haunting, finite landscape. Alan sounds young, hopeless and remorseful. The instrumentation is as minimal as it gets, starting with that bass line that reminds me of Joy Division. The lyrics are just as minimal. Alan wrote four lines in total, but somehow they speak volumes in their simplicity. Hearing “Drag” again, I want Mimi to be back. Alan’s artistry and musicianship are far better with her by his side.
“I'm sorry but I can't hold on. It works much better if I let it drag me around.”