Over the last decade, Low has done so much to challenge their reputation for minimalism that it’s not much of a surprise to hear songs as direct and immediate as the ten that make up C’mon. It’s even less surprising in light of the fact that in the four years since Low’s last album, 2007’s Drums and Guns, singer/guitarist Alan Sparhawk has been recording and touring heavily with his power rock trio, Retribution Gospel Choir. However, what is surprising about C’mon is that they are still able to turn out albums that share very little in style and texture with their previous works. More than a decade since Secret Name, the first album where Low began to shake up their approach, Low still manages to find new ways to frustrate and surprise critics who still expect them to be quiet and peaceful.

Nevertheless, C’mon is likely to receive some well deserved criticism for being one of Low’s less challenging albums. Instead of finding new ways to build and release tension, Low have just recorded ten solid songs. This album eschews the sonic extremes of the previous albums. The music here succeeds on the quality of the songwriting and nothing else. The style of the album is announced with the bells and strummed guitars of “Try to Sleep”. The song has a big sound to it. On The Great Destroyer, Low achieved this primarily through overdriven guitars, but here, the instrumentation is much more restrained. What makes the song different is how the melody comes through immediately.

With two of the album’s ten songs featuring Mimi Parker on lead vocals, this is her strongest presence since Things We Lost in the Fire. Unfortunately, on “You See Everything”, she’s responsible for one of the album’s more forgettable moments. The song’s dreamy melody fails to leave an impression once the song is complete. Fortunately, she is given a chance to shine on “Especially Me”, one of the album’s two truly stunning tracks. Opening with a quietly driving drum beat and supported by strings, the song is immediately haunting. The arrangement is perfect, but what makes the song truly captivating is Parker’s vocal delivery that gives the song its emotional pull.

Parker’s importance extends well beyond the songs where she leads. After all, The Retribution Gospel Choir lineup is essentially Low with a different drummer, but neither of their two albums have matched even the weaker moments of Low’s recent works. It doesn’t really make sense. Parker’s drum set is minimal and limits the kinds of songs Low can play. With Retribution Gospel Choir, Sparhawk is matched by two equally talented musicians who can allow him to go as crazy on the guitar as he wants. But maybe that’s the problem. I know some critics think Meg White was more essential to the success of The White Stripes than typically credited for. Mimi Parker’s contributions to Low definitely don’t go ignored, but I think it’s worth pointing out that even when Low plays things straight as they do on here, they are still capable of stunning works.

The straight-forward sound of C’mon lets some songs fall flat that may have otherwise benefited from more attention to texture and dynamics. But on “Witches”, all Sparhawk needs to do is play the chords to deliver a powerhouse. Curiously, the song ends rather abruptly. And while I always enjoy this more than a fade-out, the abrupt conclusion makes the song sound almost half-finished. It’s not the only song on here to end abruptly.

Ironically for Low, it’s the album’s quietest songs that fall short. “Done” constantly feels like it’s about to lead into a stronger melody that never materializes. Meanwhile, “$20” feels ponderous and stilted. “Majesty/Magic” appears to be the exception at first, but by the scorching climax, it’s not clear whether it belongs in the quiet category. Thankfully though, this is not one of those quiet/loud songs that is just as strong at the beginning, when it builds tension, as it is in the climax.

While the album as a whole is strong, it has one clear standout track for me that is far above everything else. It is the penultimate track, “Nothing But Heart”. The song opens with a burst of unaccompanied over-driven guitar before a quiet three (I’m pretty sure it’s three) chord melody unfolds. The verses last less than two minutes; afterwards, Sparhawk sings “I’m nothing but heart” for the song’s remaining six minutes as the music gradually builds. It’s a simple, no nonsense song, and I know the crescendo has been done to death in indie rock by now. Nevertheless, the song still manages to give me shivers well before the climax. The album then closes with “Something’s Turning Over”, a song that feels comparatively insubstantial. But given what came before, the lighthearted coda feels necessary and perfect.

Track List:
1. Try to Sleep
2. You See Everything
3. Witches
4. Done
5. Especially Me
6. $20
7. Majesty/Magic
8. Nightingale
9. Nothing But Heart
10. Something's Turning Over