The third studio album from Low Roar, ONCE IN A LONG, LONG WHILE... Released April 14, 2017 to all stores & streaming platforms. Vinyl, CDs and specialty items available at
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All songs by Ryan Karazija
Produced, recorded and mixed by Andrew Scheps, Mike Lindsay and Ryan Karazija at Cornetto Studios (London), Punkerpad UK (Ombersley) and Monnow Valley Studios (Monmouth)
Additional recording by Juan Pablo González at Estudio 13, Mexico City
Assisted for a short while by:
Matt Glasbey
Beau Blaise
Callum Marinho
All noises by Ryan, Mike and Andrew except:
- Jófríõur Ákadóttir: Vocals on Bones
- Hannah Peel: Trombone on Waiting and St Eriksplan
- Laura J Martin: Flute on I Won’t Be Long (sampled), St Eriksplan and Gosia
- Carlos Metta: Piano on Miserably
- José Villagómez: Trombone on Miserably
- Juan Pablo Gonzalez: Piano on Bones and Miserably
- Anton Patzner: Strings on Miserably
Artwork by Lilias Buchanan

Mixed and Produced by Jordan Shakespeare
Mastered by Broderick Madden-Scott
Photo by George Foster
Cassette Design by Lee Hannah
stillill： Love the way her voice finds many notes to hit. the solo guitar is a great compliment to the voice Favorite track: Mean To Me.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land.
“This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star.
The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.

Sufjan’s masterful new album recalls his intimate singer-songwriter days. But it also draws on his entire catalog, his dazzling musicality, and his lifelong inquiries about love and devotion.