Deep and melancholy, yet enlightened and full of hope, Lowry’s Love is Dead breaks all the rules of indie rock and then manages to sound as approachable and alluring as The Shins. Twirling through what is surely more than three dimensions, if Lowry could prove the string theory through music, Love is Dead would be their evidence.
The band’s layered tracks lure listeners in with gentle musings and then keeps them hooked outside the realm of traditional song structures. The album is sprinkled with songs that exceed six minutes but every measure has enough substance and variety to hold audiences at attention.
In a few seconds the combination of Lowry’s tense instrumentals and genuine lyrics can set the scene for a profoundly personal experience. Through folksy, experimental, electro Americana, Lowry is capable of painting the most significant moments of our lives through the illustration and sound.
Alex Lowry’s lyrical constructions are both complex and precise. He has a knack for painting a general landscape and then pinpointing a single seemingly insignificant instant before broadening the scope again and covering ground in leaps and bounds. “Streets lead to tunnels, tunnels lead to New Jersey, New Jersey leads to the states, states lead to the ocean, and I’m standing in a field,” Lowry sings in “Love Whiskey.”
Atmospheric and sweeping with a hint of pop sensibility, Lowry is absolutely enticing. Vocalist Heidi Sidelinker’s voice dazzles in “Far Away the Road You Left On” over a canvas of sweeping synths and emotive piano melodies. “Tree Roads,” on the other hand, takes the feel of something warmer, more friendly, and organic.
If Lowry had released their first full length before Zach Braff created Garden State, they probably would have found themselves featured on the film’s soundtrack at least once. Epic and deep, yet safe and approachable, Lowry illuminates the roads we wander through life and conveys every emotion we feel along the way.
Words by Lauren Proctor[Rating: 4/5]