Liars

Liars is an ingenuous reflection of a band in total control of their wild creativity.

Far more accessible than anything the act have produced in recent years, Liars shifts perceptions in the way most have come to expect, but with the dense conceptual themes and boundaries limited it is as if they have met most listeners halfway only to lure them back into their own sordid comfort zone, littered with the contents of a fifteen-year-old's bedroom.

Liars wanders wherever it wants to, touching on noise, prog, hard rock, punk, industrial and other styles the band has flirted with in the past, as well as a few uncharted ones.... In a lesser band's hands, this kaleidoscopic approach could be a muddled mess, but it makes for Liars' most entertaining album yet.

If it doesn't quite confound like "They Were Wrong" or thrill like "Drum's Not Dead," Liars still finds the band ignoring whatever you thought you wanted or needed from them, and doing what they damn well please.

The band’s self-titled fourth record takes only seconds to signal the triumphant homecoming of the guitar.

If Liars have reached the post-masterpiece phase of their career where they hone their craft to a needle’s point, Liars is an absolutely brilliant jump-off.

For Liars, forgoing heady concepts and willful obtuseness--embracing rock music instead of deconstructing it--may actually be the boldest move yet.

You could accuse Liars of abandoning all of their high-art concepts and otherworldly thoughts so they could secure their place on a tour of America's enormodomes with Interpol. Well, you could if this album wasn't so perfect.

Liars is only marginally easier to get into then "Drums Not Dead"--but something has to be said for an album being enjoyable, and on that scale, Liars is another monumental leap forward. [Summer 2007, p.74]

The band recalibrates toward rock structures but doesn't ditch the textures and sound experimentation of the recent past, resulting in songs with sonic depth and focus. [Sep/Oct 2007, p.129]

'Leather Prowler' is as dank and industrial as you'd hope--but the emphasis is now on songwriting. [Sep 2007, p.112]

Each track bears the sound of a confident, secure band of artists who now know they are ready for prime-time, and can weather the onslaught of attention without compromise.

As it stands, Liars is an appropriately titled, highly worthwhile piece of work that the band and any of its fans should be extremely proud of.

The stylistic buffet has enough strength to survive a handful of duds.

A masterpiece? No. Disturbingly solid noise? Sure.

The group's self-titled fourth album may be the maverick trio's most straightforward yet. [Oct 2007, p.160]

Liars might not be as singular as the band’s past albums, but even a relatively normal outing from these guys is still a puzzle that takes time to solve. Rest assured, it’s time well spent.

It's a shockingly entertaining record riddled with moody hooks. [Sep 2007, p.128]

'Houseclouds' is dance pop of hit-worthy catchiness and the taut, pounding 'Freak Out' puts to shame most contemporary psych outfits. [Sep 2007, p.133]

Sometimes Liars sounds like a group whose previous sonic journeying has inspired a fresh look at the familiar. All too often, however, it's as though, having stepped outside the confines of conventional song, they can never believe in it enough to return. [Sep 2007, p.56]

Too cool for school? Maybe. But if Liars aren’t anybody’s idea of easy listening, by gum, they’re never dull, and for that, we salute them.

The Brooklyn trio's fourth album has made it out of the terrible twos, and growing pains have produced a curious pastiche.