“In this way, the metaphor of a Sisterworld contains for us a sense of familiarity but also an awareness of the mysterious unknown.” - Angus Andrew (source)
Liars, the no-wave punk inspired band, have been taking risks in each of their previous releases. The layered and primal nature of the music have put them at the fringes of indie rock and on their latest release, Sisterworld, the band has sought refuge in the home of the fringe; Los Angeles. The resulting tracks are a fairy tale that has met urban decay.
This fairytale begins with “Scissor”, a gripping tale of death with some lucid imagery and Angus Andrew’s vocals are so composed and detached it’s an unsettling affair. The underlying nightmare of a happy tale gone wrong rears its head in the cathartic breakdown at the end, but for now it’s just a peek. “No Barrier Fun” and “Counting Victims” push the album closer to edge, balancing hypnotic swirling rhythms while reveling in darkened corners thanks in part to the chilling lyrics.
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Liars - Scissors [MP3]
It seems as if Liars, as a band, are still focused on rhythm and exploring the sonic depths, but the songs are immediate adding a tension and punch that make each song resonate. That’s not to say that the band cranks up the tension to 11 and keeps it there.
“Drip” lulls the listener into a false sense of security with hushed vocals and soothing rhythms right before “Scarecrows On a Killer Slant”. This song is sure to be much discussed as it brings the hammer with a frizzed out punk odyssey featuring some chillingly violent lyrics.
It feels like an ode to a lunatic’s manifesto with lyrics like “We should take the creeps out at night/Drag them incomplete by their ears/We should nail their thoughts to the wall/Stand them in the street with a gun ” and was written about a shooting that happened at Andrew’s doorstep (he lived above a medical marijuana dispensary and a guard was fatally shot).
Much of the early press touted the connection to Los Angeles and the location has left an imprint on the band as the glamour of old California is replaced with short sighted consumerism.This focus allows the band to create their most cohesive and connected album yet. This linear approach works well and the album truly develops as it continues.
Following the noise and chaos of “Scarecrows” is “I Can Still See an Outside World” and it is as if nothing has happened but even that facade is soon torn down. The band even has a moment to lighten things up with “Proud Evolution” offering a funky beat and some airy synths.
The illusion of a modern consumer life is crystallized beautifully and soon shattered with biting cynicism in “The Overachievers”. The idea of having a home, a cat, a hybrid and a good job seems perfect for most but with that drive to aspire we get lost along the way. The joke is on us when we try to reconnect. The band is out to destroy even the smallest modicum of a happy ending you may have left.
The hope for a serenade is dashed in “Goodnight Everything”; a title that resonates with dreamers and pessimists alike. “Too Much Too Much” ends the album on a sigh, as if recounting this tale gone wrong drained whatever energy was still left over.
Fans of the band may yearn for that cathartic release of the past but the band has created their most cohesive work yet, building off the strength of Liars. Sisterworld’s fairytale world is dark, tense and utterly engaging. Be prepared to lose yourself, and maybe your sanity, in the creeping darkness of a world gone wrong.
