Co-produced once again by BJ Burton, the record continues Low’s late-career embrace of distortion, disorienting electronics, and fractured song structures—yet it also highlights the duo’s capacity for stark, soul-baring harmonies. The result is an album that feels simultaneously more abrasive and more spiritually resonant than its predecessor, capturing Low at their most inventive and affecting. Where Double Negative introduced a radical break from Low’s long-standing slowcore minimalism—fusing submerged vocals with intense sonic fragmentation—Hey What pushes that experimentation further but in a slightly more refined way. Each track capitalizes on negative space, glitchy electronics, and swirling static, yet there’s a clearer sense of structure or progression beneath the chaos. The effect is still destabilizing, but listeners who acclimated to Double Negative might find Hey What more direct. Nominated for Best Engineered Album, Non-Classical at the 64th Annual Grammy Awards.