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Liars Audio CD
3.8 out of 5 stars  See all reviews (4 customer reviews)
Price: 8.00 & FREE Delivery in the UK on orders over 10. Details
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Frequently Bought Together

Liars + They Threw Us All in a Trench and Stuck a Monument on Top + They Were Wrong So We Drowned
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Product details

  • Audio CD (9 Sep 2013)
  • Number of Discs: 1
  • Label: Mute
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 89,421 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Plaster Casts Of Everything 3:560.99  Buy MP3 
Listen  2. Houseclouds 3:210.99  Buy MP3 
Listen  3. Leather Prowler 4:250.99  Buy MP3 
Listen  4. Sailing To Byzntium 4:020.99  Buy MP3 
Listen  5. What Would They Know 3:110.99  Buy MP3 
Listen  6. Cycle Time 2:160.99  Buy MP3 
Listen  7. Freak Out 2:300.99  Buy MP3 
Listen  8. Pure Unevil 3:520.99  Buy MP3 
Listen  9. Clear Island 2:380.99  Buy MP3 
Listen10. The Dumb In The Rain 4:210.99  Buy MP3 
Listen11. Protection 4:300.99  Buy MP3 

Product Description


The fourth, self-titled album by New York’s Liars finds them back on the map after two albums, 2004’s They Were Wrong, So We Drowned and 2006’s Drum’s Not Dead, that saw the band journey deep into the experimental wilderness. It’s important to understand, though, that in the world of Liars, weirdness is relative. So while Liars might be lyrics on songs about witches and twilit percussion experiments, these eleven tracks of spooked, discord-heavy rock, clanking grooves and skronky garage crunch suggest this band still have little to no interest in pandering to the mainstream. Primarily, it’s a shift in energy: on the rockiest track here, "Cycle Time", they marshall white-hot guitar riffs and caterwauling vocals in a way that recalls The Rapture’s pre-disco masterpiece Out of the Races and onto the Tracks; "Freak Out", meanwhile, could almost be a lost track from the Jesus and Mary Chain’s Psychocandy sessions, with 60s psychedelia tearing along in a dust cloud of feedback. If there’s a problem here, however, it’s the presumably intentional underproduction, which leaves tracks like "What Would They Know" sounding tinny and cheap. A shame, because elsewhere, Liars sees this band forging bravely onward. --Louis Pattison

BBC Review

Refusing to be pigeon-holed for longer than you could hold a pigeon, Liars' fourth album follows last year's Drum's Not Dead with what seems like unseemly haste for the most quixotic, engaging and not a little intimidating three-piece between here and wherever you are.

Masters of metamorphosis, the eponymously titled new offering reveals yet another abrupt change of direction. Concept-free and drenched in noise, the result surprises with its easy, confidently handled reliance on traditional song structures and its unabashed use of solos. 'If you told me last year I'd be playing guitar solos', frontman Angus Hamilton declares in the accompanying press release, 'I'd have called you a liar'. All right, Angus, calm down mate, guitar solos need love, too, you know!

More immediately noticeable is the uncluttered honesty and directness on display. The album's first single, 'Plaster Casts Of Everything', provides a raucous tantrum of an introduction to an 11-strong set that positively froths at the mouth with ideas and imagination.

Solace of sorts, found in the sulk-saturated 'Houseclouds', is soon surrendered to the creepy cavernous, pitch-black incantations of 'Leather Prowler'. But just as the fear needle edges into red, along comes the blissfully semi-detached 'Sailing Into Byzantium', all whispery and fuzzy and reassuringly free from sharp edges.

The drunkenly blurred demeanour of the Jesus & Mary Chain-like 'Pure Unevil' comes courtesy of a dizzying cocktail of feedback and reverb that achieves a more vivid echo in the likeably sprawling 'Dumb in the Rain'. Closing track 'Protection' is bittersweet nostalgia shot through with late-period prog-rock atmospherics and a sweetly maudlin finale to another vivid aural assault from a trio who keep you guessing about the how and the why of it all from start to finish. --Michael Quinn

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Customer Reviews

3.8 out of 5 stars
3.8 out of 5 stars
Most Helpful Customer Reviews
10 of 10 people found the following review helpful
5.0 out of 5 stars Brilliant, but not for everyone ... 27 Aug 2007
Format:Audio CD
... this is the Liars most accessible album since 'Monument'. 'Drowned' and 'Drum' were way out on the experimental scale, but were refreshing in the sense that this was a band who really didn't give a **** about the commercial side of the music business. They were making 'noise' to suit themselves and if anyone else happened to like it then fair enough. Thats what makes them interesting, although sometimes hard to listen to.

'Liars' is about as conventional as this band are likely to get. The album even has proper songs, with strong references to Garage Rock, Punk Funk and the Jesus and Mary Chain in particular.

I love it. I love the fact that this band are making music for themselves instead of pandering to the industry.

It's not for everyones tastes thats for sure, but if you have an open mind about your music I'm certain that you'll find much of interest on 'Liars'.
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5 of 5 people found the following review helpful
4.0 out of 5 stars I wouldn't normally write a review but... 3 Mar 2009
Format:Audio CD
sometimes you really need to counter the hopeless idiocy of some people. This album is far from the tuneless dirge attested to by a previous reviewer, in fact it is full of relatively straightforward garage rock encassed within Western song structures of around 3 to 4 minutes in length, but complete with the sense of power and menace one associates with Liars output. This record is for anyone with an interest in music which demands proper listening and gives no quarter (see my pun Zeppelin boy) touching on not just garage, but krautrock, fuzz, noise and ambience. My advice to anyone is to start at the start with They Threw Us In A Trench... and work through the fantastic back catalogue of Liars always involving experiments in music, from the funk-punk Mr Your On Fire Mr to the understated rhythmic beauty of The Other Side Of Mt. Heart Attack. Most wholeheartedly recommended for fans of Deerhunter, No Age and Aninmal Collective, but maybe not those who think that Smoke On The Water is God's gift to man.
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2 of 10 people found the following review helpful
5.0 out of 5 stars brilliant 19 Sep 2007
Format:Audio CD|Verified Purchase
This is the first Liars album I've ever bought and it is simply great. Buy it now.
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1 of 12 people found the following review helpful
1.0 out of 5 stars Dire 27 Feb 2009
Format:Audio CD
Quite simply one of the worst albums I've ever heard. Neutrals: I strongly recommend you listen before buying. Luckily, I only paid 50p for the album. I have since deleted it from my iPod. Tuneless dirge.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.7 out of 5 stars  7 reviews
31 of 33 people found the following review helpful
5.0 out of 5 stars Antisocial Security Blanket 28 Aug 2007
By Scott Bresinger - Published on Amazon.com
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!) exploding new building and "Freak Out" has already inspired many comparisons to Psychocandy-era Jesus & Mary Chain, with its bouncy melody and feedback-drenched guitars. Those with the fortitude to stick with the rest of the album are then rewarded with "Protection," which is (gasp!) an actual song, with a chorus and everything! Of course, the whole album is also swathed in all kinds of echo and murk--picture a rabid demon dog coming at you from out of a dense fog--so it's not exactly recommended for fans of what passes for most indie rock these days. Clocking in at a brisk 43 minutes, "Liars" may not be a long trip, but it's certainly strange.

If, however, you're one of those rare people who nest in noise and are soothed by pychosis, you need look no further. This album is the hard stuff, ladies, gents and those undetermined, and like the climax of Tod Browning's immortal Freaks, it may even be transformative.
4 of 4 people found the following review helpful
5.0 out of 5 stars The Liars Play Nice 3 Jun 2008
By Tom Birkenstock - Published on Amazon.com
Format:Audio CD|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." This mischievous irony is heightened by the fact the momentum of the song hits a wall mid-song only to accelerate to full speed with an even more anthemic refrain. Liars make it clear that even though they're writing actual songs this time they're still not playing nice.

I'm tempted to dissect the album into pop songs (or at least pop songs by the Liar's standards) and percussion experiments that recall their last two albums, kind of like how Bowie's Berlin albums were divided between lyrical songs and instrumentals. About half of the songs are the experimental Liars where they treat every instrument as if it's a drum. This push-pull tension works wonderfully thanks to some great sequencing. Unlike so many bands the Liars don't frontload the album, and after the two requisite singles as album openers, there are three challenging tracks in a row. By evenly distributing the swag, they've made sure the listener doesn't get bored by the half-hour mark.

Many of the catchier numbers sound like old favorites blown out through the Liar's bullhorn. "Houseclouds" sounds like an electroclash Prince. The fuzz of "Freak Out" is reminiscent of Dinosaur Jr. The stabbing guitar and breathy vocals of "Pure Unevil" recalls New Order. Needless to say, the breadth of the sound coming from this album is impressive. At times Liars sounds like an album at a forked road. One direction is the murky swamp of experimentation obscured from the likes of lesser critics like Rolling Stone by a gripping canopy. The other path leads them out in the open with all the other indie-rock artists that have made their way onto soundtracks of quirky independent comedies. Or, perhaps the Liars are coming from the opposite direction, arriving at a point where both sides of their personality meet rather than diverge. I hope that this album is really a reconciliation between the inviting Liars and the Liars who don't have a problem telling Rolling Stone to screw off.
1 of 1 people found the following review helpful
5.0 out of 5 stars I'm convinced... 30 Oct 2007
By Erica LeVasseur - Published on Amazon.com
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.
3.0 out of 5 stars Only about half interesting, half as good as Sisterworld 31 July 2012
By Autonomeus - Published on Amazon.com
Format:Audio CD|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 a distorted, punked up Jesus and Mary Chain.

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.

If you like the idea of distorted, stomping garage rock songs, one after the other, you will probably like the other half of LIARS more than I do.

But their next albums are great! SISTERWORLD and WIXIW are both consistently excellent.
5.0 out of 5 stars Have some fun with this one 22 Sep 2010
By hired goon - Published on Amazon.com
Format:Audio CD
This album is ridiculous. Here we have sledgehammer riffs ('Plaster Casts Of Everything'), shouldabeen indie dancefloor hits ('Houseclouds'), mind-boggling instrumentals ('Leather Prowler'), the best song JAMC never recorded ('Freak Out'), quasi-rap ('Clear Island'), as well as a sprinklings of noise, drone, industrial and a healthy dose of synth. All this in 39 minutes. There you go, have fun.
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