Liars They Threw Us All in a Trench and Stuck a Monument on Top Review

Album. Released 19 August 2002.  

BBC Review

Less dirty-rock, more dandy-rock, it's intelligently DIY prototypical punk, more...

Jules Willis 2002

The Liars are made up of Melbourne born giant Angus Andrew on vocals, Aaron Hemphill from LA on guitar and drum machine, Nebraskan Pat Nature on bass and synthbox and Ron Albertson on drums.

From the opening track, the curiously titled "Grown Men Don't Fall In The River, Just Like That", The Liars warn you of what's to come as Andrew hammers out the prophetic lyric - 'We've got our finger on the pulse of America'. This track, which is known for its appearance on Sonic Mook's Future Rock n Roll compilation, grabs your attention and assaults the ears. The big basslines, groovy loops, distorted vocals and stop-start guitars continue with the second track, "Mr Your On Fire Mr" and by the time you've adjusted, you're literally hooked.

"Mr Your On Fire Mr" is possibly the most accessible, tonal, funky track on the album, and suitably surreal titles follow, such as "Why Midnight Walked But Didn't Ring Her Bell", on this short, chaotic album. You can definitely shake your hips all the way through, right to the last song "This Dust Makes That Mud". This track loops over and over in a turgid compelling perpetual slur lasting longer than the eight tracks that precede it.

Although not a patch on their compelling and exciting live performances this driving energetic album is as close as you can get without leaving your bedroom.

The Liars are more experimental than their fellow genre-defining cohorts; amusingly dubbed New-York-No-Wave-Rock, even though not a single member of The Liars is a native New-Yorker. Less dirty-rock, more dandy-rock, it's intelligently DIY prototypical punk, more Avant-Garde and original than we've come to expect from the intentionally lo-fi brand of rock band currently pouring from the US city rock scene.

An album packed full of paradox, They Threw Us All in a Trench and Stuck a Monument on Top, may be undeniably retro in its fractured punk punch, only it has been industrially sieved through a modern electro-glitch soundscape. Recorded over two days in Brooklyn with producer Steve Revitte, better known for his work with The Beastie Boys and The Jon Spencer Blues Explosion, the album pummels your ears into submission from the outset: I think we'll be seeing more of them.

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