Kevin Johannesen

Thursday, Sep 12, 2002 4:08 PM UTC

Music preview: Liars

The Liars' debut is a dirty, disorderly dance-punk record crammed with ear splitting vocals and throbbing bass lines. Listen in.

By Kevin Johannesen

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Liars
“They Threw Us All in a Trench and Stuck a Monument on Top”
Out now on Mute Records

Brooklyn-based Liars play the kind of genre-bending fusion of punk and ska that listeners might associate with the sounds of Ian MacKaye and Fugazi. While less politically minded, the Liars do maintain a similar sense of earnest aggression, and they boast a mix of playful irony and funky beats to boot.

With “They Threw Us …” the Liars channel their high-energy live performances — which threaten to come unhinged at any moment — into their first full-length album. Frontman Angus Andrew’s histrionics and ear-splitting vocals catalyze this chaotic blend of drum machines, caustic guitars and persistent, throbbing bass lines. “Loose Nuts on the Veladrome,” which has the destructive capacity of early Jesus Lizard recordings, goes from rhythmic progression to complete structural meltdown and back several times over, held together only by Andrew’s shouts and howls.

The album ends with the 30-minute “This Dust Makes the Mud,” which appears to be a filler rather than the band’s attempt at artsy instrumental experimentation in the vein of Godspeed You Black Emperor. Apart from this half-hour divergence, the Liars’ debut is a solid, dirty, disorderly dance-punk record.

Liars: “Mr your on fire Mr”

Audio: Real Audio

Duration: 4:02

Tuesday, Aug 27, 2002 8:12 PM UTC

Music preview: Interpol

This stylish New York foursome effectively evokes the ghost of Joy Division and other heroes of 1980s new wave. Listen in.

By Kevin Johannesen

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Interpol
“Turn on the Bright Lights”
Out now on Matador Records

The stylish foursome Interpol is the latest “next big thing” to emerge from the resurgent New York music scene. Like fellow notables — indie rock outfits the Strokes and the Yeah Yeah Yeahs among them — Interpol heightened their profile by relentlessly touring the U.K. After a well-received E.P. on the Scottish label Chemikal Underground, they signed with Matador Records and added an E.P. and now a full-length album to their discography.

Throughout “Turn on the Bright Lights” a dark, moody atmosphere prevails in nervous, edgy guitar progressions and detached yet urgent vocals. The group owe much of their sound and style to Manchester new wave legends Joy Division and the Chmeleons; lines such as “I’m sick of spendind these lonely nights/ training myself not to care” on the track “NYC” are indeed delivered in best Ian Curtis (Joy Division) fashion.

The band effectively evoke the distinct sense of despair and frustration that characterized much of 1980s new wave. And while “Turn on the Bright Lights” is heavy with nostalgia for an era gone by, Interpol are not merely rephrasing the pains of their idols. Their songs shine with a sincere emotional intensity that saves them from sounding like just another ’80s revival band.

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Monday, Jun 10, 2002 7:24 PM UTC

Music preview: Mary Timony

The former Helium frontwoman invites you into the dark, fantastical landscape of her mind on her second solo album, "The Golden Dove."

By Kevin Johannesen

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Mary Timony
“The Golden Dove”
Out now on Matador Records

In the 1990s, Mary Timony was the driving force behind the crafting of three noisy, art-pop albums with Boston-based trio Helium. Timony launched her solo career in 2000 with the album “Mountains,” and on her sophomore issue she further defines herself against the backdrop of the Helium recordings. Masterfully weaving her trademark fragile, melancholy voice with mystical esoterica, “The Golden Dove” serves as an updated invite into the fantastical landscape of Timony’s mind.

The album comes off as dark and mysterious and relies heavily on medieval imagery, reinforced by the eerie omnipresence of piano, cello and baroque instrumentation. (Production and playing credits are extended to Sparklehorse’s Mark Linkous and longtime Timony collaborator Christina Files of the Swirlies.) In a kind of murky stream of consciousness reminiscent of Tori Amos, Timony splays her songs with lyrical phrases like “I didn’t sleep for days, from the raven’s gaze I escaped that horror,” on “The Owl’s Escape.”

Timony’s post-Helium career is marked by her involvement with collaborative projects. She is currently working with drummer Carrie Brownstein from the feminist punk-trio Sleater-Kinney, and also has assumed vocal, keyboard and drumming responsibilities with the cosmic rock foursome Green 4.

Listen to Mary Timony’s song “Blood Tree,” courtesy of Matador Records, below.

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