Rosie Lowe
Lover, Other
Blue Flowers
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Over the past ten years dating back to the arrival of Rosie Lowe’s inaugural Right Thing EP (2013), the precursor to 2016’s debut full-length Control, the evolution of her distinctive, thoughtfully cultivated artistic vision and steadfast commitment to her songcraft has been nothing short of remarkable to behold. Her modern masterpiece YU (2019), inspired Now, You Know (2021) mixtape/EP and acclaimed collaborative project Son (2021) with kindred musical spirit Duval Timothy have all offered compelling testament to her penchant for experimentation and bold proclivity for pushing her sound in different directions.
Now, a few years removed from recording within the confines and conventions of the major label machine, Lowe has deservedly embraced a newfound freedom to make music how, when and where she wants to, unencumbered by others’ expectations.
“I just decided before I started this (album), I’m gonna have fun. I just want to have so much fun,” Lowe confided to Gilles Peterson during his BBC Radio 6 broadcast last month. “So I got a little studio in a little suitcase, and I was like, ‘I’m just gonna travel, I’m just gonna go around and if I feel like making music that day, I am going to.’ So it was the most fun process ever. I’ve had such a good time.”
Written and recorded in various locales that served as wellsprings of inspiration including Florence, Berlin, Barcelona, Lowe’s native Devon, and Madremanya, a small village in the Catalonia region of Spain, Lover, Other is arguably her most kaleidoscopic and organically executed effort to date. A mélange of sonic textures, vocal stylings and intimate lyricism all meticulously orchestrated by Lowe and her crew of musical partners including producers Harvey Grant and D’Monk, Lover, Other immediately commands your rapt attention from the hymnal “Sundown” intro and sustains it, all the way through to its reprised counterpart that concludes the album.
Each of the thirteen compositions that reside in between these bookends justifiably qualify as standouts, beginning with the sultry lead single “Mood To Make Love,” which exudes sensuality and self-assuredness in equal measure, atop a streamlined yet seductive guitar strum. “Bet you never met a girl like me,” Lowe reflects in the opening verse. “Never knew how tough I'd be / Walked out the sea dripping gold / I could stand up to the fireline / I'll come, divine / Like a fine wine, oh.” Resist her powers at your own risk, in other words.
The mood suddenly shifts with the chugging percussion of the album’s introspective second single “In My Head,” which explores “feeling the change in life and trying to learn to just surrender to it and not overthink,” according to Lowe in an official statement. “It's about digging deep to a place inside where I forge on anyway, despite my fears.”
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One of the ways she navigates the vicissitudes of life and stays grounded is by focusing more of her energy toward acknowledging the things she’s thankful for, as she affirms in the third official single “Gratitudes.” “I need to say my daily gratitudes,” she repeats, suggesting that such a simple routine can have a meaningful impact on her mental health.
Collectively, the four songs that close the album’s first half represent the highest point of this record full of high points, while exemplifying the variety and versatility of Lowe’s vocal and sonic inclinations. With its dense, deep 808-blessed bass drum patterns coupled with its arresting synths and staccato rhythms, the multi-textured “Bezerk” is unlike anything Lowe has recorded to date. And it’s magnificent. The cacophony of incongruous instruments melded together, the old-school funk vibes, the echoes of Paisley Park in her vocals that would make Prince proud—all of these elements coalesce to form irresistible ear candy that you’ll be compelled to listen to over and over…and over again.
With a lush melody loosely reminiscent of the Simply Red touchstone “Holding Back The Years,” the incandescent “There Goes The Light” drops your blood pressure down a few ticks after the stirring soundclash of “Bezerk.” It’s followed by “Walk In The Park,” a whimsical love song with orchestral flourishes tailor-made to lift spirits and soothe souls.
The album shapeshifts once again with the spellbinding, dancefloor-friendly “Something,” its propulsive breakbeat arrangement complemented by perfectly placed piano riffs, making for a wholly immersive listen.
Memorable moments are plentiful throughout Lover, Other’s latter half as well, beginning with the intriguingly rendered vocal manipulations of “Don’t Go,” followed by the sparse, staggered soul of “In The Morning” which samples the voice of Japanese multi-instrumentalist Makoto Matsushita.
The somber, haunting tones of the smoldering “Out Of You” call to mind Portishead’s most bewitching fare, while the sanguine ballad “This Before” finds Lowe basking in the radiant glow of love and summons—in sentiment at least, if not sonics—Stephanie Mills’ classic 1980 single “Never Knew Love Like This Before.” Finally, the cinematic flare of the closing instrumental “Lover, Other” adds to the sense of grandeur that permeates throughout the album.
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“I wanted this album to sound like a collage,” Lowe explains in an official press release. “My love of choral music, sample culture, the energy of live music and the intricacy of more produced elements in electronic music. I wanted to incorporate it all into an album, weaving together the different processes in writing that excite me.” And rather remarkably, she has accomplished this feat within a tightly sequenced album that runs just shy of 40 minutes. Defying easy categorization, Lover, Other offers a treasure trove of sonic and vocal treats for our ears, while serving as convincing validation of Lowe’s irrepressible passion and purpose in propelling her vital, vibrant art forward.
Notable Tracks: “Bezerk” | “Mood To Make Love” | “Something” | “There Goes The Light” | “Walk In The Park”
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