Lowlife were formed from the remnants of a Psychobilly band called Dead Neighbours. The original Dead Neighbours line up was Craig Lorentson (Vocals), David Steel (Bass), Ronnie Buchanan (Guitar) and Grant McDowall (drums). After one mini LP, David Steele left the band. Will had just left the Cocteau Twins at that time and since he was from Grangemouth, as were the rest of Dead Neighbours, it was obvious that Will should replace David. Dead Neighbours recorded one album with Will "Strangedays/Strangeways".
From there Ronnie Buchanan left and Stuart Everest replaced him. At that time it was decided that it would be appropriate to change the music and band name.
Lowlife were formed taking the name from a
Public Image,LTD song.
Above contributed by Grant McDowall, 2002.
It began with "Rain", this strange journey. Just a tiny spatter. When Lowlife put out their debut EP, back in early 1986, few saw any hint of the splendours which were to follow. It wasn't a bad record. Not at all. Yet the small, sketched patterns, hints and echoes of guitar, never really pointed at the glories which would open up later. Of course, I can blush a little. I noticed.
So "Rain" itched at a few people and passed most by. Maybe it was a way of saying to each other 'How's this gonna work?' Within weeks, the band were keen to forget it, jerked into life by the first glimpses of better moves they could make. Quietly, it was all coming together. Nobody much was watching, and this suited them. Who wants to be poked at when they're trying to grow? Lowlife took a deep breath.
And blossomed. "Permanent Sleep" arrived in a burst of colour. It was a wonder. Who was it said "this is a music which touched on the human condition, fully and nearly, because it must"? Oh yes. It was me. I was right. From the first rich, entranced note, Lowlife swirled and grew round unworldly vistas, peaks and eddies which beggared belief. How could they take it all that far, that deep intoitself? "Permanent Sleep" ached with a feel for space and sensuality which went far beyond the trivial.
But what were they singing of, while the music searched and roamed? Well, it helps that Craig Lorentson is a poet. With a little glances and bruises of words, he can open up and fade away, give a glance of a dear truth . . . and close again. As much as New Order, a constant early reference point, Lowlife are an enigma. They deal with the now, with what matters, so slightly you hardly see them come andgo. Yet they leave you wounded.
Words, words, words. Yet this aside, it is always the glide and sweep of Lowlife chords which baffles ad fascinates, the patterns they skim in the sand. "Vain Delights" was the first single, with the rapid hearbeat of "Hollow Gut" winning new fans. With it came "From Side to Side", a gentle tremor of love and longing. Its poise and stasis held time still just for a flicker. Lowlife were going further in.
And then "Diminuendo". More of the same? Yes, happily, and richer, higher, fuller. Inside a pastel, classic sleeve, another trademark, rested their honest point yet. The unsure, yearning shades of "Permanent Sleep", the silent cries, somehow gained sureness, confidence while neverlosing the exotic shimmer. The fragility of Lowlife music, always on the brink of silence, is in itself a thing of wonder. That it can be crafted into these slim shapes is a miracle.
So the splendour and love grew tall. "A Sullen Sky" sounded, still sounds, like it fell from heaven. A song which dares to begin "I let the sky fall in my hair" and flow as elemental as nature's way, aloof yet meshed in the moment. The balance of hope and despair, laughs and tears, is noble. Lowlife can always fling open their arms and make space for their songs to breathe, write their own rules of time and limits. It can't be analysed. It's a blessed gift.
And then to singles. "Eternity Road", love seen through acrystal prism, colours refracting everywhere, with its doleful echo "It's better to be lonely". And a nod at the strange, intangible limits Lowlife work within; "I could sing beautiful things / if I was not so clever". To, finally, the most recent glance. "Ramafied", drifting and loose. as apart, alive and itching as Lowlife ever were. It stops, dies, breathes, returns to life. The best Lowlife moments always were the quietest.
So, from a scream, four lads shoving off in a studio, to a whisper. A music which has come as near to capturing our dearest hopes and thoughts. Precious longings and fleeting moments as any this decade. It's not too serious to talk in these terms. You do when you're in love. And joining it all, all the gaps, traumas and tiny sweetnesses... some kind of faith, a special belief in breaking through to a greater truth. Nothing else could spur these sublime patterns. They may blush and look away. But Lowlife are always special. and the greatest news of all? The best time for them is . . . The Future. There'll be more yet. Keep breathing.
Above taken from a review by Ian Gittins of "Melody Maker" printed on the sleeve of the vinyl version of "From a Scream to a Whisper".
Lowlife were predominately a studio band and were in studios for about 2 to 3 months recording each album. Touring was very rare. The few times they did it was with bands like Johnny Thunders and the Go-Betweens and it
was only done to promote some releases.
Lowlife were even approached to write the soundtrack for a Channel Four-sponsored movie which was to be put together by Abacus Films. As far as I know that completely dissolved.
These days, Lowlife is only but a memory.
Yeah, they were offered a number of deals with "larger" record companies, but they always believed they would be forced down a certain road, i.e COMMERCIALISM and they would lose their musical integrity. In their minds money was always ancillary to creativity.
Will and Grant now are busy with large families and day jobs. Will has 3 boys and works as a Process Operative. Grant has 3 girls & 1 boy and is a detective with the Scotland Police. Craig has 1 boy and is a scaffolder. Stuart is around the Falkirk area working in the audio/visual field.
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