19 Nov. 2024 (Blog about missing GY!BE and Alan Sparhawk this weekend in Atlanta)

This is Friday—not today, I mean, this, this blog, is Friday, four or five days ago, depending on how you count such things. We were maybe fifteen or twenty minutes on the road heading northwest to Atlanta—my wife driving the first leg before we stopped for gas—when I checked social media again to see if Godspeed You! Black Emperor were still going to play that night. They were not. This information came via opener Low legend Alan Sparhawk, who had reported the past two nights’ shows canceled.

We headed north anyway. The kids had left school early; my daughter pointed out that she had already missed an AP Bio test and that she wasn’t going with me and the boy to the show anyway, she just wanted to go to Atlanta to hang out. Fair point, of course.

My son was bummed and I was bummed. I don’t know exactly how he came to Godspeed You! Black Emperor’s strange, hypnotic, droney anthems—via an algorithm, really—but a few years ago I heard him blasting Lift Your Skinny Fists Like Antennas to Heaven in his bedroom. I gave him my copy of their debut LP, F♯ A♯ ∞, which I’d bought from the band back in 1998 or 1999 when they opened for Low at a record story I was working at in Florida. They knocked our socks off. It seemed there were more Godspeeds Yous than audience members, and to be clear, the tiny record store was packed. It was a summer afternoon in Florida; very hot and very sunny, a throbbing miasma of sound across Hemming Park, now James Weldon Johnson Park, in beautiful ugly downtown Jacksonville.

(It was just such a night my friend Travis was arrested for skateboarding across Laura Street. Jayskating. (I don’t think it was the same night.))

After the show I bought their record. It had a pouch crammed with incidentals—flattened pennies, a Canadian stamp, some illustrated scraps. I think I listened to it a million times that summer. One of the guys in the band asked me where they could get some hash in Jacksonville. I suggested the Waffle House. Low played after; everyone sat down, exhausted from what Godspeed had required. It was lovely. Perfect day.

I had really wanted to experience my imaginative inversion of this concert this past weekend, but it didn’t emerge. I mean Alan Sparhawk, whose new record is so strange and daring and wonderful—I wanted to see that with my kid, who, he, my kid, wanted to see the ensemble Godspeed do their drone magic. I bought him an Aphex Twin record at Wax n’ Facts as a consolation prize, and he bought himself the first volume of Katsuhiro Otomo’s Akira at A Capella Books. I picked up a first edition hardback of William Gaddis’s last novel Agapē Agape.

And so well we made a weekend of it, browsing book stores and record stores and walking the Beltline. Love that city and my best wishes to GY!BE founding member, Efrim Menuck—I hate that we missed you on the tour but I hope that your health recovers. Thank you for making music my son and I love. 

 

RIP Low’s Mimi Parker

https://www.youtube.com/watch?v=LvaqUYqrghk

Pitchfork and other media sites have reported the death of Mimi Parker. Parker was diagnosed with ovarian cancer in late 2020, and I’d hoped that she would recover. She was 55.

Along with her husband Alan Sparhawk, Parker was the core at the heart of the long-running band Low. She was the primary percussionist for the band, and traded vocals with Sparhawk to create slow, haunting, and deceptively simple songs.

I have intense memories of listening to Low’s 1994 debut I Could Live in Hope on repeat on my Walkman (but only in the winter). I loved their 1995 follow up, Long Division (somehow darker and crueler than the first record), but it’s 1996’s The Curtain Hits the Cast that will probably always be the definitive Low album for me. The dark opener “Anon” slides into two perfect, restrained pop songs — “The Plan” and “Over the Ocean,” a track carried by Parker’s perfect harmonies and spare percussion. The album’s penultimate track, “Do You Know How to Waltz?” is definitive slowcore noise, ambient and menacing and thrilling and hypnotic. (It was probably around this time that I made the Low t-shirt my wife later adopted, and then my daughter took up.)

I got to see Low play on the tour for their next album, Songs for a Dead Pilot. It was at a goth club in Orlando, on a small stage. I recall their being kids dancing to stuff like KMFDM in the main part of the club, and the sound drifted over. Everyone sat down. My friend Scott laid down and slept. It was wonderful. I got lost driving home to Gainseville and got home when the sun was coming up.

In 1999, Low released the perfect Christmas EP. Their original track “Just Like Christmas” is our favorite Christmas song in my household, and I know when we break it out in a few weeks I’ll feel like crying. There’s something perfect about how Parker characterizes a Scandinavian tour: “By the time we got to Oslo / The snow was gone / And we got lost / The beds were small / But we felt so young / It was just like Christmas.”

I got to see Low again, sometime around the summer of 2000. They played a small record store that I had ostensibly been working at (really, we used the space upstairs to rehearse our own band), and the owner offered a chance to meet them. I declined. The Canadian band Godspeed You! Black Emperor opened for them. There seemed to be no room for their ensemble and the audience to watch. The Low trio sat in the audience with us. Their set was like comedown music. Ethereal.

Things We Lost in the Fire came out in the spring of 2001. It was recorded by Steve Albini and it soundtracked a lot of my last year in college, which was often confusing and depressing and scary. Parker’s vocal on “In Metal” still destroys me.

In 2000s, I stopped keeping up with many of the nineties acts that I’d loved. With a handful of exceptions (the most notable being Lambchop), most indie acts were doing the same thing again and again, just not as well as they had once done. Low were different though. 2005’s The Great Destroyer, while not perfect, featured faster, poppier songs like “California.” The 2007 follow up, Drums and Guns is one of Low’s harshest, meanest, and best albums—a perfect response to the venomous Bush years. 2011’s C’Mon pushed their sound even further, while still holding on to their melodic core, as we can hear in a song like “Especially Me.”

Low’s 2015 record Ones and Sixes pointed to yet another direction—noisy, angular, chromatic. Low used the studio and self-sampling to create strange beauty. The trend continued on 2018’s Double Negative, where the band took the production techniques even farther, but it was last year’s 2021 that really saw the fruition of those experiments on HEY WHAT, an album that captures the weirdness and beauty of isolation, of unrelieved tension that folds into itself. Parker’s voice gliding through the digital noise and haze at the end of “Hey” is as wonderful as ever. Thank you so much for the gift of your music, Mimi.

David Bowie, Brian Eno and Tony Visconti Record “Warszawa”

(By the Brothers McLeod).

Low Concert