Generally favorable reviews - based on 21 Critics

Critic score distribution:
  1. Positive: 15 out of 21
  2. Negative: 0 out of 21
  1. Liars have a surprisingly unique approach that distinguishes them from other groups in their willingness to experiment with different tones, volumes, and styles, all of which make They Threw Us in a Trench and Stuck a Monument On an astounding debut.
  2. The brief disc contains enough gusto and punch to get your spastic swerve on heartily.
  3. This album's fucking great, like a sharp stick in the eye. [Sep 2002, p.81]
  4. While their found object gimmickry is a novel enough enticement, the Liars' solid stop/start rhythm section is what keeps the junkyard noise spastically danceable.
  5. 60
    Liars are more about energy than solid songwriting, but these spastic, jagged grooves are powerful enough to inspire a sea of awkward punk-rock dances. [#9, p.150]
  6. An intense fifty minute ride through the minds of one of the best new bands to emerge in recent memory.
  7. [Their] jerky, wired punk-funk sound salutes '80s underground heroes like the Contortions, Liquid Liquid and ESG, with a bit of Public Image Ltd. and Gang of Four tossed in. [Listen 2 This supplement, Aug 2002, p.17]
  8. Liars got the punk wave thing down, but what makes them more interesting than their peers is their willingness to explore beyond the edges of the new-wave box.
  9. 70
    Humour saves the Liars. [Sep 2002, p.110]
  10. Whether they're shrieking or pleading, dancing or shivering, they're always exuding an intensity that never fails to find a way to hit you hard, really hard.
  11. Nailed to the dancefloor by Flea-like bassist Pat Nature, and dragged up to date by hip-hop beats and random electronica, musically Liars are taut as a tightrope.
  12. The lyrics, insincere as they are, grate somewhat, but the spastic grove cannot be denied they're a bit like a pervy, conservative Devo, with more earwax.
  13. Mixing the grit that was The Stooges with the bounce that was Gang of Four, Liars and their debut release are everything that should be praised about Brooklyn's music scene.
  14. Sometimes they're studenty when they think they're being menacing, but there's promise and ideas aplenty here. [Sep 2002, p.109]
  15. Savvy listeners won't find anything revolutionary. [#36, p.62]
  16. A ramshackle, art-damaged mess, but it's also one of the most bone-rattlingly ferocious records you'll hear all year.
  17. While they don't quite have the cross-gender appeal of the Yeah Yeah Yeahs, the pouty disagreeability of the Strokes or the urbane refinement of the Walkmen, they heedlessly summon the spirits of post-punk monoliths like PiL, A Certain Ratio and the Pop Group without forsaking their gritty New Yawk-ian roots.
  18. It's grating and electrifying in equal measure.
  19. They're at their best on tracks like "Nothing Is Ever Lost[...]," where they conjure the wheeling claustrophobia of PiL circa Metal Box. [#223, p.66]
  20. An exciting mix of audacious punk rock stammering held together by such disparate art-rock nomenclature and tendencies as vocal transmutation, discordant climaxes and ironic herky-jerky rhythms.
  21. 90
    One of the most adrenalising albums you'll hear this year. [Sep 2002, p.110]

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