For the better part of the 15 years leading up to 2007, slow-moving and crawling have been the predominant characteristics describing Alan Sparhawk’s work, particularly in regards to his pioneering Slowcore band Low. What remains mostly unnoticed, however, is that Sparhawk’s career has been more or less described through his use of atmospheric earnestness and tense, looming dynamics. Yet many were surprised when he formed Retribution Gospel Choir in 2007—a group defined not only to the likes of an increased tempo (‘Mediumcore,’ if you will), but also a louder sound!
Retribution Gospel Choir
"2"
(Sub Pop)
Released January 26, 2010
However, this is not a complete sea change for Sparhawk, as there is more to the picture than initially meets the eye with Retribution Gospel Choir. What most have overlooked in his endeavors with this current project is the fact that the groundwork from Low—delivery and dynamics—remains intact. So to say that this is a completely other side of Sparhawk would be incorrect. That being said, Retribution Gospel Choir does lean away from Low’s minimalist style, falling closer to the likes of Black Mountain, Queens of the Stone Age and other stoner-rock contemporaries.
As Alan Sparhawk continues his marginally sped-up efforts in Retribution Gospel Choir’s sophomore release 2 (2010), he appears quite comfortable with this departure into moderately-pace heavy-rock. 2 opens with a resolved purpose previously unreached by the group. “Hide It Away” pounds with a determined mid-tempo, angst-ridden rock, as Sparhawk’s repeatedly cries “You’re running away / You hide it away child.” Their resolved loudness (relative to that of Low) continues throughout most of 2, particularly through the efforts of Sparhawk’s full-bodied, psychedelic-laced guitar, as well as drummer Eric Pollard’s thumping drum-work.
Between the gloomy haze of “Your Bird” and the accessible focus on “Working Hard,” Retribution Gospel Choir have appeared to hit their stride with these tightly crafted tracks. The remainder of 2, however, stretches towards the experimental, and at times overreaches the groups’ capabilities. “Poor Man’s Daughter” builds up into a borderline psychedelic-thrashing, while “Electric Guitar” features a sprawling guitar attack that drudges towards a noisy climax, before effortlessly collapsing into a fade away. While there are some exciting moments here, these two lengthy numbers are rather hit or miss.
Retribution Gospel Choir’s 2 endures as a progression of Alan Sparhawk’s slow ascent towards the faster and louder. As each of their two albums has grown apart from Low’s noted style, this development ultimately is worth embracing. 2 stands a timely place in Sparhawk’s career, as it still bears resonance to his past, yet offers plenty for those unfamiliar with his prior work.
