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Bowie David — Low (CD)

Name: Bowie David: Low CD
Brand: iMuzika
SKU: 001_199398
Price: 17.00 EUR
Availability: OutOfStock

Formatas CD

Kat. nr. 001_199398

Barkodas 5021732853295

17,00 €

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in 1976, David Bowie was on a commercial high, especially in the USA, where he placed three studio albums and a double live record in the top ten within two years (including STATION TO STATION, which reached number three). Personally, however, he was a wreck - severely addicted to cocaine, tired of the limelight and with serious doubts about his mental state. The two immersed themselves in German avant-garde music and the early minimalist recordings of ex-Roxy Music member Brian Eno and began writing and recording music that would end up on five remarkable albums - two by Pop (THE IDIOT and LUST FOR LIFE) and three by Bowie - that became known as his "Berlin trilogy" (LOW, "HEROES" and LODGER).

Prekė detaliau

1977's LOW was the first Bowie album from this period, and it is one of his best. Produced by Bowie and Tony Visconti (with assistance from Eno), LOW transformed the singer's pain and alienation into an album of moody, fragmented beauty.

The first side is full of experimentation and new musical possibilities, even if Bowie's lyrics reflect a less positive attitude. The instrumental "Speed of Life" opens the side with distorted synthesizers layered over clean synthesizers and a more than heavy backbeat. There really is a lot going on here - headphones are an absolute must to take it all in. The intricate bass work in "Breaking Glass" supports a strange scene described in the lyrics ("Baby / I've been / Breaking glass in your room again"), much like the guitar figure in "Sound and Vision" provides a lift, while the lyrics ("Pale blinds drawn all day / Nothing to do, nothing to say") bring everything back down.

The largely instrumental side two turns Bowie's despair and alienation into something beautiful. The striking "Warszawa" is the highlight, a soundscape meant to evoke the desolate streets of post-war Poland. Inspired by a recording of a Bulgarian boys' choir singing a Polish folk song, Eno created a multi-layered piece in which he experimented with texture and structure, shaping modulating chords into a remarkable, melancholic whole. This long section of ambient music leads into Bowie - many Bowies, a virtual choir whose voice is shifted in low and high registers - singing words in an invented language.

"Weeping Wall" has a similar feel - a multitude of synthesizers and percussion glide around a lone guitar, creating a hypnotic foundation of sound. Here too, Bowie's voice is fed into a machine and emerges as a distorted reflection of himself. The song is literally all Bowie - he plays every instrument, every note, piecing it together piece by piece from his own imagination and curiosity.

This curiosity would help Bowie, Eno and Visconti create two more albums during Bowie's time in Berlin that were full of beauty and intensity. LOW was the first salvo in this partnership, a striking statement that set his artistic work on a new path.