“When I first started working on this record, I was trying to explore the idea of being isolated,” says Angus Andrew, before falling silent for a few seconds. “Sorry,” he begins again, “I lost my train of thought there. I was looking at a kangaroo through the window.”
Angus is calling from a remote spot near Sydney, Australia – “In the super-bush, offshore,” he says. “I live in a National Park. There are no cars, it’s all rainwater and septic tanks.” Compared to the locations where previous Liars albums have been recorded – Brooklyn, Los Angeles, Berlin, bustling metropolises all – Angus’ current base of operations marks something of a left-turn. But, then, so does TFCF, (which stands for Theme From Crying Fountain), Liars’ eighth and latest full-length.
Liars have, as a matter of course, sounded radically different with each album, pursuing new concepts and occupying diverse mindsets, from the pell-mell post-punk of their 2001 debut, They Threw Us All In A Trench And Stuck A Monument On Top, through the No Wave Hallowe’en stories of They Were Wrong, So We Drowned, to the haunted electronica of Mess. But there’s no defining style to TFCF, no overriding concept, as it shifts between sampled elements, brash processed sounds and “real” instrumentation, passages of pointed abstraction and passages of wilful songcraft, avant gestures and genuine pop moments. There’s no mask being hid behind, and the album is their most honest and autobiographical yet – possibly because Liars is no longer a “they”, but a “he”.
Tickets are on sale now.