A Record a Week: Liars - We no Longer Knew Who We Were

SIDE 1:
WE GOT COLD, COUGHED AND FORGOT THINGS
YOU KNOW I HATE STUPID PHONES
EVERY TWO HOURS WITH A DUCKS FAN

SIDE 2.
-BLANK-










Before their style experimentation took flight over the last few albums, Liars had a steady (although experimental in its own right) sound. Back in the days of front-man Angus Andrew's relationship with Karen O (of the Yeah Yeah Yeahs), this record was amongst the beginning of the cult-famous career of Liars. In those days, the Yeah Yeah Yeahs and Liars both had a similar underground popularity, but as the Yeah Yeah Yeahs progressively got more radio-friendly, Liars were influenced by witch documentaries and experimented with different sounds, only occasionally dipping their feet back into music that swims closer to radio-play.

This record, though, was before all of that. With one LP under their belt, the indie/dance-punk band created a short burst of energy that walks the line right up to hardcore music, but showing the calm collected restrained of indie music. The end result is a indie record that sounds like it was written by angry punks, but can still make you dance. It was not long after this that I first saw them perform and they don't hold back anything in their live performances. You never know exactly what to expect, with the possibility of Andrew in a dress or other interesting attire, the percussion being rigged up through any number of electronics/triggers, or an entirely stripped down performance. It was a nice quick listen and a throwback to a time when I was constantly playing and going to concerts of this nature.

A Record a Week: Hannah Georgas - s/t

This record is out of order, I know, but I went to see her on Saturday and picked it up, so why not throw it in to the mix.














SIDE 1.
ELEPHANT
SOMEBODY
ROBOTIC
ENEMIES
SHORTIE

SIDE 2.
FANTASIZE
MILLIONS
WHAT YOU DO TO ME
ODE TO MOM
WAITING GAME

The self-titled album from Hannah Georgas marks her third album, but her second full length. It is a rebirth of sorts, as she has left behind a simpler pop sound and branching out in a new direction. Her older albums are great in their own respect, but I feel like this is a more mature sound and one that reflects her shifting into her mid-20s. That's not to say that there can't be deep pop music or that there's anything wrong with her earlier records. In fact, they are great records and digest easily.

This record, on the other hand, has a couple of songs that pop right away, but the more you listen, the better the record gets as a whole. The echo-y vocals and drum machine sounds have replaced the catchy innocent beats and tunes.

The record is a blend of Florence and the Machine and Metric. Spacious sounds layered masterfully and well produced by Holy F*ck producer/member Graham Walsh. The record starts with the beautifully slow building Elephant and that sets the tone for the whole record. The record is, like the show was, a mix of steady beats and ambient beauty.

Other favourites include Robotic, Enemies, Millions and What You Do To Me.