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Herald Rating: * * * *
It's hard to believe when you listen to it, but Liars' self-titled fourth album is the bent and twisted Berlin-based trio's version of a pop album. Their previous releases have been concept-cum-experimental albums combining discordant noise, discordant punk rock and a love for beats.
Those elements, especially the beats and noise, are evident here; however it's the band's most structured, accessible and best album yet.
Mostly, Liars are still abrasive and raw and there's a coldness to their sound, yet the album has a hooky and challenging charm to it. It can sound sick, like on turbulent brain-twister, Plaster Casts of Everything and the slow-motion distorted thrashings of Leather Prowler, then it's clean and bouncy on Houseclouds (like Happy Mondays meets Spaceman 3) and sweet and blissful on Sailing to Byzantium. But beware, because there is little reprieve as it lurches back into the droll and demented What Would You Know and spirals further out of control on Cycle Time and the deadbeat squall of Freak Out is pure Psychocandy-era Jesus and Mary Chain. This album is for fans of Battles' last album, Mirrored, because it's just as unique and just as nutty. In fact, if it wasn't so good Liars would be down right anti-social.
Label: Mute
Verdict: It's still sick but as normal as this trio get
