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Liars

LiarsAudio CD
4.7 out of 5 stars  See all reviews (7 customer reviews)

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Formats

Amazon Price New from Used from
MP3 Music, 11 Songs, 2007 $9.49  
Audio CD, 2007 $11.03  
Vinyl, 2012 $20.09  

Amazon's Liars Store

Music

Image of album by Liars

Photos

Image of Liars

Videos

Liars - No. 1 Against the Rush

Biography

It’s almost ten years since they first started making music together, but at the start of a new decade Liars find themselves in the unlikely position of being art-rock elder statesmen.

This is unlikely because, while some of the other bands lumped into the Brooklyn post-punk revival scene that first brought Liars to prominence have floundered, this is a group that have constantly ... Read more in Amazon's Liars Store

Visit Amazon's Liars Store
for 26 albums, 4 photos, videos, and 2 full streaming songs.

Frequently Bought Together

Liars + Sisterworld + They Were Wrong, So We Drowned [Vinyl]
Price for all three: $48.58

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Product Details

  • Audio CD (August 28, 2007)
  • Original Release Date: 2007
  • Number of Discs: 1
  • Label: Mute
  • ASIN: B000TZUSMQ
  • Also Available in: Audio CD  |  Vinyl  |  MP3 Music
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #142,087 in Music (See Top 100 in Music)

1. Plaster Casts Of Everything
2. Houseclouds
3. Leather Prowler
4. Sailing To Byzantium
5. What Would They Know
6. Cycle Time
7. Freak Out
8. Pure Unevil
9. Clear Island
10. The Dumb In the Rain
11. Protection

Editorial Reviews

Amazon.com

When your debut record breaks musical rules faster than the world can make them, what do you do next? For Liars' singer Angus Andrew, multi-instrumentalist Aaron Hemphill, and drummer Julian Gross, the immediate answer came in the form of narrative experiment (2004's They Were Wrong...) and multi-media exploration (2006's Drums Not Dead). On the heels of these, Liars' eponymous record dives headlong into digestible, radio-length pop and rock structures, made all the more listener-friendly courtesy of mixing touches by longtime Erasure/Depeche Mode producer Gareth Jones. The blistering riff of lead single "Plaster Casts of Everything" opens into danceable electro-workouts ("Houseclouds," "Freak Out") and straightforward rock numbers ("Cycle Time," "Clear Island") galore. Make no mistake: Liars retains every last acrid drop of the feral energy that made the band famous, but replete with ubiquitous pop elements--verses and bridges and choruses, oh my!--Liars' new aesthetic bares an approachable underbelly with a surprisingly humane, almost welcoming, sheen. Floating along on Andrews' falsetto, the organ-drenched closer, "Protection," sounds almost tender, leaving the impression that the future may yet unmask the fact that Liars' veneer of misanthropic noise was, from the outset, always the band's ultimate deception. --Jason Kirk

Product Description

Liars have never been a band comfortable with staying in one place for very long. Geographically, personally and most of all musically, each successive album that they release comes with a new agenda, a new heritage, a new set reference points and a new way of thinking about music. After the multimedia multitasking of 2006's Drums Not Dead, Angus Andrew, Aaron Hemphill and Julian Gross have returned with their most stripped back and direct album yet.

Customer Reviews

4.7 out of 5 stars
(7)
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Most Helpful Customer Reviews
31 of 33 people found the following review helpful
5.0 out of 5 stars Antisocial Security Blanket August 28, 2007
Format:Audio CD
("Liars" by Liars)

Liars are one restless rock band. After the noisy, fractured dance punk of their debut, They Threw Us All in a Trench and Stuck a Monument on Top, leader Angus Andrew replaced the rhythm section and came back with the even noisier and in no way danceable They Were Wrong, So We Drowned. As if that didn't alienate many of their fans, for album #3 they took another sharp left turn with the impressionistic Krautrock of Drum's Not Dead (CD + DVD). The only clear direction they were on was more art, less rock. Now here we are at the self-titled album #4, and while their artsy impulses are anything but gone, they've reasserted the R-O-C-K for their most accessible work since the debut.

Keep in mind when I say "accessible," for this band that's a relative term. While this album, with its primitivist punk rhythms, bent psych rock guitars and digital screwing around, can possibly be enjoyed by more or less "normal" folks, this is still music that speaks, sings, chants, screams, stutters and mutters to the freak in all of us. In many ways, this is music for people who have no friends, and don't really want any. The monomanical pounding of "Plaster Casts of Everything" may inspire some fist-pumping and head-banging, but its falsetto vocals and general atmosphere of scuzz make it seem unlikely. "Houseclouds" brings in a bit of off kilter funk and keyboards that make it sound like a diseased Radiohead song. Meanwhile, "Leather Prowler" has a rhythm partly composed of what sounds like an (obscure reference alert!
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4 of 4 people found the following review helpful
5.0 out of 5 stars The Liars Play Nice June 3, 2008
Format:Audio CD|Amazon Verified Purchase
The best thing that ever happened to Liars was the one star review of They Were Wrong So We Drowned they received from Rolling Stone Magazine. What better way to promote yourself as the punk rock band of the new millennia than receive a devastatingly negative review from the magazine tailor made for the culturally shallow petit-bourgeois that choke our cities with the treeless wasteland of suburbia. Rolling Stone Magazine, who needs them. This is the same magazine that put The Eagles on the cover decades after they're relevant, if they ever were relevant. This is the same magazine who, like most of its readers I'm sure, discovered itself during the culturally vibrant time of the sixties and has spent the last forty years skimming pop culture chum looking for the most shallow musical "artists." This is the magazine that caters to Starbucks shopping masses who yearn for the convenience of picking up the latest Jasan Mraz, Carly Simon or Michael Bolton while simultaneously buying overpriced cappafrappalattes. When Rolling Stone published that review a very clear wall was erected and edict imposed. Play by our rules or else you don't get in.

So naturally the Liars went on to record the equally confounding Drum's Not Dead.

After giving Rolling Stone the middle finger twice, it appears that Liars are ready to play nice with their audience. Their fourth release, given the swanky title Liars, is their most accessible album since their debut. Of course, its accessibility is mixed with the confrontational personality of the band. One cannot help but imagine a grin on lead singer Angus Andrew's face when he delivers the faux-metal line "sweet massacre of death" during the album opener "Plaster Casts of Everything.
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1 of 1 people found the following review helpful
5.0 out of 5 stars I'm convinced... October 30, 2007
Format:Audio CD
...that the Liars could gargle water and beat two sticks together for 45 minutes and I'd love it. Not one of their albums sounds like any of the others. This one actually goes back a step and adds a little bit more structure, if that's what you'd call it, but still continues down the Liars weird twisted path of obscurity. This is definitely not for everyone. Unless you're ready to release your inner freak.
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Format:Audio CD|Amazon Verified Purchase
This is a frustrating album. The first four songs are really interesting and varied. The last song is really good too. But in between (tracks 5-10) the band sinks into a boring garage rock routine, like Jesus and Mary Chain but punked up and more scuzzy.

The references in the first two songs are certainly intriguing, and I haven't seen anyone else comment on them. "Plaster Casts of Everything" gets things off to a hard-charging start, and then the falsetto vocal turns to a familiar melody -- it's "Sorcerer" from The Curse of the Mekons! In fact it's the melody from the pivotal line: "Oooh! The abyss is close to home" which transitions to the rap portion of the song at the end, describing the Angel of History (from Walter Benjamin), looking back at the vast catastrophe of human history, the wreckage called progress. Did the Liars insert this intentionally? Hey, they were art students, I'm gonna say yes.

Then the next song, "Houseclouds," starts off sounding like the Beck of Mutations only funkier, or Jane's Addiction, and then the repeated refrain "I won't be gone" is sung to the melody of Perry Farrell's "Pets," substituted for the refrain "we'll make great pets!" Now this one is right in your face, so all the other reviewers have to hang their heads in shame for missing it.

I didn't catch any references in the next two songs, "Leather Prowler" or "Sailing to Byzantium." The latter is quite creative -- atmospheric and unique. The closing number, "Protection," seems to let down the punk sarcastic front the band wears most of the time, revealing a less damaged psyche within.
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