It is shown on the opening track, “Speed of Life” which is entirely instrumental but became iconic for its use of synthetic crashing and cascading chords. This was mainly to a relationship that would develop between Bowie and Brian Eno who himself had worked in the minimalist and ambient styling. This relationship would start to train Bowie in the art of making graceful, but haunting illustrations of the highs and lows of his life and career. In a time where Bowie’s Young American’s was still receiving radio play and being considered one of the best albums of the decade, Bowie instead wanted to entirely flip the script and create something a little less approachable.
Low is split in a near perfect half between ambient tracks that rely on the sense and lack of sustenance or structure. The first half is instead a more narrow blueprint of what Bowie was doing before, but instead relying more on creating these outstanding instrumentals that would boost his vocal performances. The instrumentals on Loware some of Bowie’s best, reflecting on “Sound and Vision”, “Speed of Life”, “Always Crashing in the Same Car” and even “Warszawa” that painted a vivid illustration of Bowie’s time in Berlin. A monumental time in music history, Bowie’s Lowwould become a constant mirror to his English upbringing and his new, more modern German sense.
Seeing Bowie grow even in a modern sense is fascinating, there is something that is so abnormal about seeing an immensely talented performer be able to be so forward-thinking and truly awe-inspiring in each category. Lowis an album that will stand out for being the starting factor in his Berlin trilogy, but for also having some of Bowie’s best songs in his career even in some of his darkest hours.