The story of Low Roar started at the other end of the world. On the cold, rough and absolutely magical Iceland. After moving to Reykjavik in 2010, Karazija turned to a more introverted and intimate sound. Being greatly influenced by local folk bands, The self titled debut album was released on November 1, 2011 by the independent label Tonequake Records. At the time of its premiere, the record was not very popular, but was well received by journalists and listeners. Low Roar was compared to such renowned bands as Keaton Henson or Bon Iver. Delicate, folk-ambient sound was full of nostalgia, tenderness and longing. Today Self Titled debut album is still listened to and discovered by listeners all over the world who are looking for music that is in its own way moving, but also subtle at the same time. Second Album „0” released in 2014 was a breakthrough, After a lot of great reviews, Low Roar went on tour around the world. The aesthetics of „0” was compared to Radiohead or Sigur Ros, mainly due to the increasingly sophisticated, sometimes almost epic sound. In addition to the classical instrumentation, Low Roar increasingly used synths and electronica. However, the best was yet to come. While in Iceland in 2016, Hideo Koijma, a living legend from the video game world, discovered Low Roar music… while shopping. Sony then contacted Karazija, but all the musician heard at the time was that the Japanese company wanted to use one of the Low Roar songs for “their secret project”. After a few months, everything became clear. Hideo Kojima personally selected the music for his game Death Stranding. Low Roar’s songs were featured in the game’s first trailer, released in 2016. After its premiere, the American-Icelandic project was discovered by hundreds of thousands of listeners around the world. Working with Kojima was one of mile stones in Low Roar’s career. In 2017, the third album „Once in a Long, Long While….” was released. In many interviews, Karazija mentioned that his strongest inspirations while recording the album were his divorce and the life of an immigrant in Iceland. OIALLW release turned out to be yet another success. “ross.”, Low Roar’s fourth album, was released in November 2019. The sound of the album brought back memories from the beginning of Karazija’s career and was marked by strong influences of ambient and dream pop. Listening to this release gives you the impression of a a postcard from another world – without any worries, fears or concerns. ‘ross.’ is an antidote to the turmoil that has not been lacking in the time just a few months after the album’s premiere. This time was not wasted. Ryan Karazija is back with a new album „maybe tomorrow”. It is perhaps the most poignant publication in the American’s catalog. The newest album was recorded with Mike Lindsay, Andrew Scheps and Ricky Linstrom. On „maybe tomorrow”, delicate and sleepy sounds become components of songs with a powerful emotional charge – from longing, through thirst, to helplessness and even fear. When you listen to the album track by track, you have the impression of entering one, extensive and engaging story. The listener becomes a guest in Low Roar’s world by a subtle invitation to show him around. Let’s not be fooled by the moving sounds of the piano or subtly accentuated synths. Low Roar’s latest work is not a collection of bedding ballads. These are twelve moving compositions that touch the deepest emotions. Karazija does not try to convince anyone with single plays – “|maybe tomorrow” wins the recipient with a dreamlike atmosphere in which you sink more and more with each song… Every recorded sound, every word sung was woven from feelings reaching the ears then go straight to the heart. Low Roar re-painted „maybe tomorrow” is one of the most expressive items in Low Roar’s discography. This album is an autonomous story, adding completely new colors to the color palette used so far by Ryan Karazija. It’s an album that consumes the listener and requires him to “get into the story” completely – if we do, we will find what was deeply hidden within ourselves, but we weren’t able to reach on our own.