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March 8, 2010 | by  | in Music | [ssba]



Liars perpetuate their status as one of the most unpredictable and almost-certain-to-please bands around with their latest album Sisterworld. Liars have clearly always employed the maxim ‘make it new’—this being extremely obvious when you look at their stylistic shifts and explorations of different genres with each release; starting with their somewhat ‘straight-forward’ dance-punk debut, They Threw Us All in a Trench and Stuck a Monument on Top, right through to their unique mix of visceral rock and dancy-noise experimentalism (they even went as far as having an instrument called “The Moodswinger” created for a track on the album) found on their 2007 self-titled release.

Sisterworld succeeds in being an amalgamation of everything they have explored before. It’s impressive that the brooding Krautrock-influenced sounds of ‘Proud Evolution’ can be on the same album as the quick-fire adrenaline release of ‘Scarecrows on a Killer Slant’, and it works so naturally. These two tracks were originally the highlights for me, but after many more listens the amazingness of first single, ‘Scissor’ became 100% apparent. It features Angus Andrews’ voice at its deepest and most despondent over the top of choir vocals and beautifully haunting keys, before a musical explosion like no other hits and makes every eyebrow in the room raise. Every time.

The intro to ‘I Can Still See an Outside World’ made me think of The Beatles if they had decided to indulge in heroin instead of acid when writing Sgt Pepper; the seemingly pretty guitar and vocals containing that slightly skewed/disturbed element that advances a track beyond the average; these then brake for a bouncy bassline before being destroyed by a noisy guitar riff reminiscent of Liars’ self-titled effort. ‘Drop Dead’ is a perfect dissonant mess of guitar, bass and vocals. It features a guitar line that sounds like it never completes itself, and as the song goes on reveals below the surface menacing strings that complement well. The album closes in a relatively low-key manner with ‘Too Much, Too Much’, featuring a heavy bassline that drives the song, contrasted with soothing keys/guitar and croon-style vocals that fade out to finish, which is for me a truly cathartic experience. Yes, I went there—this album is pure musical therapy and Liars’ best yet.

Sisterworld comes out March 8 with some “next-level-shit” artwork and a bonus disc containing re-interpretations of tracks by the likes of Bradford Cox and Thom Yorke. Wonderful.


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  1. Joe says:

    Sweet as review, bro.
    Keep up the good work

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