“Unlike the direct Appalachian feed that nourishes American groups like Fleet Foxes and Le Loup, this UK ensemble derive their folk sound in hand-me-downs replete with successive generational fingerprints. This third release, produced by ex-Fridge member Adem Ilhan, mixes the warmth of multi-vocal harmonies and acoustic strums with electrically- (and even digitally-) enhanced instruments. The unpredictable songs that emerge veer from driveway to freeway speeds between bridge and chorus. Little music box melodies ease into finger picked pastorals and into stomp box rave-ups, like The White Album turned into a medley of hits. Adem’s gentle encouragement is easily heard in the crisp details of massed instruments that overlap without bruising. Fans of Iron and Wine or Death Vessel will find lo-fi manna in tracks like “Friend to Mine” and “Blackbird 2,” while “Blackbird 1″ and “Where You Goin’?” will attract Socially Broken Scenesters. There isn’t something for everyone, but more than enough for most.” – Exclaim

“At first glance, Low Low Low La La La Love Love Love do not seem to be a band who fit the mould. For a start, their unnecessarily long, nine-letter name poses a string of inconveniences (would ‘Low Low Low’ not have been enough? Or even ‘Low La Love’?) and in addition to this, the tracklist for their third album seems to be a collection of words and numbers arbitrarily allocated to each song just so that you have no idea what refers to what.

Tracks two and three are named ‘Blackbird 1’ and ‘Blackbird 3’ respectively whereas ‘Blackbird 2’ does not appear until track nine; ‘Document 19’ is the opening track and ‘Document 15’ makes an appearance as track eight. I imagine myself attempting to conduct an intellectual musical conversation about this band: “Have you heard the new album by La La La Love Love Love…No, that’s not right…Low Low Low Love Love Love…No…Low Low Low La La La Love Love Love? Anyway, I really like track two – ‘Blackbird 2’, I think it’s called. Or is it ‘Blackbird 3’? Or even ‘Blackbird 1’…” Whether the band – whom I will refer to as LLLLLLLLL to prevent this article from being ten times longer than it needs to be – just fancy being awkwardly artistic or whether there is a significant reason for all this confusion, I do not know, but they say never judge a book by its cover…

Feels, Feathers, Bog and Bees begins with a melancholic ‘Document 19’, which is a melodic mixture of tambourines, violins, glockenspiels and lulling vocals. Personally, I would normally expect to find this kind of track as the token epic song at the end of an album when all the excitement has come to aclose and you are left with a massive climax before silence and then the hidden track. However, LLLLLLLLL’s first offering of the album is still quite enjoyable, despite creating a rather bleak beginning.

Things start to pick up pretty quickly and ‘Blackbird 3’ is a gorgeous little track beginning with a mysteriously beautiful glockenspiel melody and ending with a minimalistic acoustic guitar. Additionally, ‘Where’re You Goin’?’ is one of the album’s standout tracks; one of the few you could actually find yourself singing along to, it is an upbeat, more conventional folk pop song.

Other prominent tracks include the big and bold ‘Document 13’ and, contrary to my idea of a typical ultimate track, ‘Bored Of The Stood Life’, which leaves the listener with optimism and unanswered questions – ‘Could it be that bad to let go of that?’

All in all, if you wade through the enigma that surrounds LLLLLLLLL, there lies a talented band who excel in producing tracks which are both thought-provoking and soothing.” – Noize Makes Enemies

“Low Low Low La La La Love Love Love, and the pleasant indie folk sound they bring, take some time to get into. With their third disc, Feels, Feathers, Bogs and Bees, the band seems to be crafting nothing more than harmonious background music with dabs of pop sentimentality — at least initially. One finds that even though LLLLLLLLL’s music is pleasing on the ears, it’s not pop; it won’t easily get lodged into your brain, and Kelly Dyson’s vocals simply aren’t easy enough to understand to readily sing along with.

Where, then, does the appeal of Low Low Low La La La Love Love Love lie? Turn the volume up, and what’s endearing about the band begins to shine through. It takes patience to find the enveloping beauty of their music, but listen carefully. Their appeal lies completely in the details.

Feels, Feathers, Bogs and Bees kicks off with “Document”, which begins with a couple electronic blips and soon delves into a steady violin rhythm aided by lush instrumentation and low-key vocals. It’s a simple transition which hints to listeners what they can expect from the disc as a whole: charming folk rock with electronic underpinnings. On one hand, one finds carefully-controlled distortions poking through beneath traditionally folksy guitars. On another, one finds layer upon layer of instrumentation cascading into joyous, jangling fanfare. Arrangements purposely stroke both eardrums disproportionately, and a guitar in the right ear playfully banters back and forth with its counterpart in the left ear to create a powerful dynamic that is easily overlooked unless one is paying attention.

Even vocally and lyrically, much more is lurking beneath the surface than one might initially think. Dyson rarely rarely veers into epic territory with his singing, but again, it’s not the lead vocals themselves that deserve the brunt of the attention. All things should be considered in whole, rather than in part, when it comes to LLLLLLLLL. When Dyson’s vocals are coupled with the subtle harmonies poking out on either side of them, the resulting sound is soothing and hypnotic. It’s full, and it’s complete.

And finally, there’s the band’s name. Call it lazy music journalism or otherwise, but it’s simply impossible to construct a review, type a name like Low Low Low La La La Love Love Love over and over again, and not make a note of it. But despite the name’s initial turn-off factor, it’s actually completely appropriate for the band’s sound. The name, like their music, chimes, and closer inspection reveals that the name is in fact pretty ingenious. After all, a name like Low Low Low La La La Love Love Love might seem laughable, but it’s memorable after it’s said aloud once. And like their band name, LLLLLLLLL’s music is memorable once it’s deconstructed, too.” – Redefine Magazine

“A few years ago a friend and I drove all night to visit some friends in a small college town in South Eastern Idaho. We arrived around 5 in the morning before the sleepy town had awoken. Neither of us could sleep and nothing was open so we decided to drive around the sprawling fields of freshly plowed farmland. As we drove the sun rose behind us and began to burn off some of the fog still clinging to the ground. The whole scene was otherworldly. We crested a hill and then we saw it, standing in the middle of the road looking straight at us was a full grown male moose. As we drove up beside it, it began to trot and then gallop beside our car, we matched it’s pace for awhile and then drove behind it for about a mile before it turned and lost us through the fields. Needless to say that was one of the most singular experiences of my life, being in the presence of that animal was humbling, that thing was so massive. I wish I was listening to Low Low Low La La La Love Love Love during that experience. There is something about this album that is seeped in an otherworldly quality that is as massive as it is organic. Were were you 3 years ago?

I am going to, for the sake of brevity, refer to Low Low Low La La La Love Love Love as Lx9. That is the last time I am writing that freaking name. Lx9 are an ever evolving folk outfit from across the pond, who seem to have experimental folk-rock down pat. The opener “Document 19″ opens with a repeating, minimal guitar and violin line that opens up gradually until the sound swallows you whole. Is that tremolo picking electric guitar in a folk song? Yes it is, and it just owned you. Feels, Feathers, Bog and Bees is full of such surprises. Where other bands of the same ilk would be content with existing as a sepia tinted novelty throwback to a nostalgic past that never really existed, Lx9 aren’t afraid to be as expansive and experimental as they are reverential. Their third album has something a lot of folk bands don’t have, bite, and by bite I mean an edge to them. They aren’t afraid to throw in some loving distortion over their beautiful vocal harmonies and mix power chords with intricately picked guitars. The album ebbs music box frailty and flows crescendo drumming. Feels, Feathers, Bog and Bees recalls a time when an indie rock band that wasn’t exactly heavy and wasn’t exactly soft inhabited a mysterious space that was utterly unclassifiable. Like the Red Stars Theory, I wouldn’t call Lx9 folk, I would just call them awesome. I thank Lx9 for doing this, I don’t feel like I have to listen to a Sunn0))) album after I play this because I feel bleached white from a lack of danger and experimentation. This embrace of the rock side of folk-rock has been a welcome addition in an age full of tuxedo-vested, mustachioed, crooners who seem content to follow Fleet Foxes in a pied piper line into the lands of musical irrelevancy and VH1’s “I love 2008″. Kudos to Lx9 for putting out a beautiful record, full of mystery and wonder, but who don’t forget that if you have beards, you should sound like a rock band.” – Tome to the Weather Machine

Where are they from?
UK

Who are they?
Kelly Dyson, Ellis Dyson, Chris Robinson, Hugo Edwardes.

What do they sound like?
Two words spring to mind when listening to the improbably titled Low, Low, Low, La, La, La, Love, Love, Love, ‘folk’ and ‘experimental’. While at its heart their music appears soft and folk guitar based there’s an edge as well. The industrial feedback at the beginning and interspersed in the track, ‘Flower in the Mind’, from their current album Feels, Feathers, Bog and Bees, shows that they are more than just a bunch of finger-picking folksters. There’s a clear melancholy to the music, which is unsurprising given their influences include Elliot Smith and Neutral Milk Hotel.

What have they got to say for themselves?
According to a recent PR release: “Low Low Low La La La Love Love Love is an every evolving UK based outfit, Over six years and through a shifting construct they’ve employed varied approaches to writing and recording. But amidst the changes, some constants have remained; a stark lyricism, thoughtful arrangements and complementary, harmonic vocals, which glimmer and tremble throughout.”

What releases/tracks should I look out for?
Former Fridge member Adem, whose recent album Takes offers some of the most sublime covers around, was the producer of the Low Low Low La La La Love Love Love’s latest album Feels, Feathers, Bog and Bees. This was released earlier this autumn on Other Electricities and features the band’s trademark experimental folk pop. Neon Filler

Their recording style hasn’t changed since 2007’s Ends of June, but this British lo-fi folk group’s songwriting has evolved way beyond their previous full-length’s pleasant, melodically streamlined homespun songs. The slowly building opener “Document 19” goes from hushed acoustic tune to overdriven guitars and stacked backing vocals, leading into the syncopated drums and Built to Spill-style guitar layering of “Blackbird 1” (there’s also “Blackbird 3” and “Blackbird 2”, in that order).

No longer muffling their catchy melodies in the mix, songs like “Blackbird 1”, “Where Ya Goin’?”, “Document 15” and “Bored of the Still Life” stick in your ears without sounding like empty bombast; the cassette tape ambience helps too. Speaking of, they’ve mastered using the medium as an instrument. The room sound and occasional crunchy microphone distortion gives a melancholic aura to “Piano” which, like the rest of the album, segues seamlessly into the next track, the banjo-led “Friend of Mine”. The vocal distortion and electric guitar on that song goes a little overboard with the whole experimental home-recording vibe, revealing the beauty in just having clean vocals and banjo in the closing seconds.

As a document of creative evolution, Feels, Feathers, Bogs and Bees succeeds in spades. They’ve both reined in their sound and exploded it into a psychedelic mess, depending on the dictate of the song. While their home recording style isn’t as pronounced as their last album, it could still be a stumbling block to someone used to hearing such gentle melodies rendered smoothly. It’s that gritty documentation that gives their songs so much character, and as they get used to manipulating that ambience their songs could go in many more directions. (Rating 8/10) – 30music.com

From the reaches of England’s High Peak, Low Low Low La La La Love Love Love seem isolated from the current music scene; folk or otherwise. This apparently keeps them refreshingly unaffected by trends in music not made in Wormhill – and there are few trends in Wormhill. Being caught up a world of their own isn’t necessarily a bad thing, it’s allowed them to create something distinctive, however it doesn’t do them any favours in being accessible. Hell, not even their name is easily accessible; and it’s awkward to bring up in conversation, regardless of how good the album is.

After a mediocre beginning, second track ‘Blackbird 1′ conjures some surprising textures, including some patches of guitar crunch, which instantly dismiss any assumptions made from the first track. Not a regular folk album, it seems, if a folk album at all. ‘Where’re You Goin’?’ introduces some classic sounding melodies, but doesn’t fall into the trap of depending on them. Instead, it detours from the accessible route a regular pop song would take, for something different. Very admirable.

There is an underlying guitar rumble throughout, adding a little edge. ‘Flower In The Mind’ carries on the subdued guitar, occasionally lashing out. A long screech triggers the climax in this one, rounding up the very Pink Floyd feel it has. ‘Piano’ serves as a break from the pace of the previous tracks, and only as that. Maybe a tongue-in-cheek title, but it’s obviously an attempt to create some kind of pit stop before ‘Friend To Mine’ returns with the guitar distort, this time with what sounds like a banjo that doesn’t quite fit the lo-fi feel of album.

For people that are already fans, ‘Feels, Feathers, Bog and Bees’ will be a satisfying follow up to ‘Ends of June’. For people who aren’t yet fans, it’s a good example of what an album recorded in the Peak District sounds like. Pretty good, but it has little sense of direction or a train of thought. Nevertheless, it’s a scattered collection of thoughts that fit nicely together in an album. (Rating 7/10) – This Is Fake DIY

“We’re not sure what motivates up-and-coming new artists to come up with names that are either impossible to pronounce or a bitch to type (?). This one rates as extremely difficult in both categories. But music is what matters…and in this case the songs on Feels, Feathers, Bog and Bees are much easier to digest than the band name. The band is a constantly evolving group of musicians based in Wormhill, Derbyshire, England. The music might best be described as progressive experimental pop. The overall sound is something like Sufjan Stevens except…more unpredictable and distant. On this particular album Low Low Low La La La Love Love Love (really hate typing that name…) is Kelly Dyson, Ellis Dyson, Chris Robinson, Hugo Edwardes, and Brian Lutchmiah. This album is extremely smooth and satisfying. Only one real flaw…the bad distorted vocals in “Friend To Mine” render the song unlistenable. Otherwise…this is a killer collection of tunes. Top picks: “Document 19,” “Where’re You Goin’?,” “Blackbird 2,” and “Bored Of The Stood Life.” Intriguing. (Rating: 5+)” – LMNOP

“UK’s Low Low Low La La La Love Love Love is putting out their third album, Feels, Feathers Bog and Bees in late October. Their single, “Blackbird 3,” is like a Sigur Rós take on The Beatles, reinterpreting “Blackbird”’s vocal harmonies over soft acoustic strings. There is a nature sounds or subliminal message quality to the song, characteristic of this type of meditative folk.” – Letters from a Tapehead