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- Michael Patrick Brady
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Cold northern nights ring through the open air in the form of ferocious roars and distorted whines on this 7" from the heart of Russia. Insanely packaged in the warmth of a two-inch thick, hand-sewn, wool cover and numbered by the duo, the music on VS is sickeningly intense and nauseatingly careful. A full onslaught of boisterous misery might have a frightful effect on some, but Cisfinitum opt to stir fear by mixing near-familiar elements into something completely unfamiliar.Drone Records
I can't be certain, but it sounds like wounded dogs are crying over the horizon and a strange machine is buzzing, maybe grinding something or someone inside those shattered buildings and empty wharehouses. There's a low moan of uneasiness perpetuated by the sounds of "Curve" and they don't go away. Even though the intensity dies down towards the end of the track, it keeps its malady alive in by introducing the terror of silence and the unknown. Pipes drip inside, the trees rustle outside, and in the vicinity is a wheezing entity, moving slowly through the shadows and towards the open window. As though the psychological tension couldn't be any greater, Cisfinitum starts side two with an echo of strange voices caught up in the walls of rot; walls that look like skeletons when viewed from afar. "Curse" begins gently enough but then erupts violently with a cascade of war drums, desperate radio broadcasts, and the most diabolical of laughs. However Cisfinitum records, they obviously have the power to capture to the essence of locations. The mood and dire feel of this whole record imply a kind of horror that can only be summoned via great care and with some amount of Lovecraftian knowledge. Ultimately it is that Lovecraftian sense of the enormous and uncontrollable that Cisfinitum manage to commit to record. The sounds and spaces that they evoke seem infinite and, in that respect, they recall the blank and abysmal fear of what can't be known or understood.
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Tribute albums fall into different categories. There's the serious, professionally assembled tribute albums with a cast of well-known well-respected players on a firmly established or hip record label (see Blue Skied an' Clear and A Tribute to Spacemen 3); there's the abominable releases where a cast of has-beens and never-have-beens are found together unbeknownst in some cash-in-quick scheme (see the entire Cleopatra catalogue); there's the fanboy ones where a group of friends just decide to do something for kicks and trade it amongst themselves (see nearly any email list); then there's the painful, uninspiring ones which are posing as a professional tribute but wind up with more bad contributions than good ones (see For the Masses and A Means to and End). We Could Live In Hope isn't simply a Low tribute, it's a song-by-song cover of Low's very first full-length album (with two versions of "Words.") With a cast of people like Red House Painters' Marc Kozelek, His Name is Alive with Dan and Liz from Ida, A Northern Chorus, and Jessica Bailiff, the disc seems promising, but it's got some harsh problematic recordings which hold it back.Fractured Discs
Kicking off a record with a weak, out of tune and false accent-touting Daniel G Harmann version of "Words" is a complete mistake and gives me little hope for the rest. While Pale Horse and Rider add a pedal steel to "Fear" and A Northern Chorus go deep in their version of "Slide," the disc is already turning out to be a bit too samey. These are obviously people who have been so influenced by Low already in their own music, that nearly every album is a tribute, making a cover tune almost completely redundant. Most of the tunes, while pleasant, suffer from a lack of originality and simply go in one ear and out the other. Mark Kozelek is a saving grace, however, as his fingerpicking and rearrangement of "Lazy" turns it into a completely different song, however, this hope is almost immediately shattered when the first notes of Kid Dakota's "Lullaby" makes it sound like they want to be Low. Idaho's Coldplay-ish "Rope" makes me want to find one and the second version of "Words" is flat, tired, depressing, and drags on way too long (and coincidentally with some absurd accent). Thankfully the album ends on a very inspiring note, as His Name Is Alive with Nanang Tatang present a very graceful version of "Sunshine," which, actually isn't a Low cover, but that tune we all sang in kindergarten. (I also have the sneaking suspicion this is simply a Warn Defever remix of a song which appeared on Elizabeth Mitchell's You Are My Sunshine album a few years back, but I can't prove it at this point.) Luckily We Could Live In Hope escapes being the worst kind of tribute, but it comes dangerously close. If I just make my own CD-R and only use Halou's version of "Words" instead of the other two here, it's going to sound much better. 
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