In a feat of pure wonder, Brooklyn-based quartet Screens have managed to evade the magnetic lure of musical stagnation with their latest album, Dead House. Without adhering too closely to any one genre tag, they pull bits and pieces of influence from "pop," "psychedelic," "noise,"...

By Surprise have a song called "Daggermouth Is Playing At My House" which led me to believe that they were another band aping the pop-punk-hardcore-easycore genre. That said, I was pleasantly "surprised" (see what I did there?) when I listened to "Mountain Smashers" from beginning...

If you're expecting a traditional dance party from Australia's My Disco, you're expecting wrong. My Disco takes the tasteful, throbbing repetition used so well by bands like Clinic -- or more recently, Suuns -- and amps up the percussive elements tenfold, while deconstructing the songwriting into minimal bits. My Disco is the drum circle, Psychic Ills' version of dancey art rock, a meandering band that has little or no concern for traditional songwriting structures. Most of the tracks on Little Joy -- which sounds far from "joyful," by the way -- can be broken down into a few notes and sounds.

Listen to "Closer" - DOWNLOAD MP3

I know you think you go off, get crazy with your friends, party like a "rock star" on the weekends and such, but let me make something clear: YOU DO NOT GO OFF AS HARD AS LES SAVY FAV'S TIM HARRINGTON. No fucking way. Some people are just born into that level of greatness, so you might as well accept that and move on with your life.

 

Read about this album cover artwork The first time I saw Les Savy Fav, I had one of their records which I was digging on and had been told they were a great live band, but I wasn't at all prepared for the living spectacle that is Sir Harrington. He's got this homeless schizophrenic guy kind of charm (just Google it; a picture does a thousand words). And so, a song or so in, everything's cool. I'm wondering why he's wearing socks on his hands, but there's nothing completely batshit yet. So, I head out to the bathroom and come back to get another drink, but can't, because he's standing on the bar, grabbing cocktail cherries from the supplies with his mouth and spitting them into various other crowd member's mouths. Later, several makeshift floating stages were erected and he and others danced on top of the crowd which grew increasingly deranged and ecstatic. It was a Dionysian freak out of epic proportions.

 

I just want to give a quick shout to the fine folks at Almost Velvet, who've done a quick bio and recap into the work of Manchester's Linder Sterling, whose early work in Manchester's punk and post-punk scene are still relevant today. Just...

Grass Widow primarily play an anonymous brand of surf-tinged garage rock, and the ten tracks that make up Past Time do not stray far from that foundation. However, the group is adept at adding just enough textural variance to keep the songs from becoming...

When your band name is Golden Triangle, you've gotta find ways to work the triangles into your music videos. Golden Triangle have done just that with this rambunctuous video for "Prize Fighter." It's not the newest video, but they go on tour the beginning of...

As we find ourselves suddenly thrust into the midst of the information/overpopulation age, some unsettling realities about the nature or our species' brilliant endeavors become harder and harder to suppress from our collective psyche. We know that our government starts wars solely to funnel money into the military/prison industrial complex. We know that we've sold out our political voice to those of inanimate corporate deities. Our excess is gleaned from the blackened heart of human exploitation and spiritual vacancy. These things have become increasingly obvious, and yet, your average person is ultimately powerless to change them on a grand scale. The overwhelmingly tragicomic trajectory of our collective plotlines can possess anyone with the urge to detach themselves from what some people still call "reality".
Spring 2010 Interview
But it's not all unsettling. There's a transcendent beauty lurking in the depths of our current art explosion. With increased technological advances, more people than ever can exteriorize their internal realms of consciousness for less. It's this desire to distance oneself in an alternate universe of creative information, combined with disgust at America's obsession with "power of positive thinking" mind rape psychology, that inspired Liars' latest album, Sisterworld. Following a string of brilliant full-lengths, Sisterworld finds the band continuing to challenge themselves. Some artists find their sound and pummel a pattern ad infinitum, but it's always more exhilarating to watch artists take serious risks -– which is something Liars have never shied away from doing. Combine this with a fervent dedication to the visual side of the project (the full-length DVD companion to Drums Not Dead is a lo-fi video art masterpiece), and it's not surprising that art rock megaliths Radiohead hand-picked Liars to open for them on their last tour. On the verge of their latest release, Aaron Hemphill and Angus Andrew were nice enough to answer a few questions via e-mail. (Editor's note: All formatting from their responses is original!). ARTICLE CONTINUED BELOW Liars "Scissor" from A Bruntel on Vimeo. One of the underlying themes of Sisterworld is how people form their own worlds and social networks to deal with the continuing onslaught of our society brought forth by population expansion and new information technologies. Where'd the idea for this theme come from, and how do you guys personally build your own "sisterworlds," as it were? Angus Andrew: AARON AND I BEGAN TALKING ABOUT HOW WE OFTEN FEEL DISLOCATED FROM WHAT'S GOING ON AROUND US. SOME KIND OF LACK OF CONNECTION WITH THE MILIEU. WE SPOKE ABOUT THIS GENERALLY AS IT RELATES TO MUSIC AND CULTURE, AND THEN REFINED THE IDEA AS WE FOCUSED MORE ON LOS ANGELES. I THINK MUSIC IS OUR SISTERWORLD, BUT WE EACH HAVE LOTS OF WAYS OF CREATING THE SPACE WE NEED. FOR EXAMPLE WE'RE ALL PRETTY AVID GARDENERS. Aaron Hemphill: IT WASN'T REALLY THE EVENT OF ARRIVING AT THIS IDEA, MORE THAT ANGUS' AND MY SUBJECT MATTER AND MUSICAL MOODS CONVERGED ON THE SUBJECT. THIS WAS THE COMMON SUBJECT... ONE THAT COULD UNITE A BROAD SPECTRUM OF SOUNDS AND STILL BE COHESIVE. THE MORE I LEARN ABOUT MYSELF, THE MORE DETAILED AND SPECIFIC THE WORLD I FEEL I FIT IN BECOMES... THIS ADDS A LOT OF FEAR AND PARANOIA AS TO WHETHER OR NOT A PHYSICAL MANIFESTATION WILL EVER BE FOUND. I personally use information technology as a means to deluge myself with a constant stream of art, books, movies, music, blogs, graphic novels etc. in an attempt to exist in somewhat of a parallel dimension of my own design. On that note, what other bands would you recommend right now for someone looking for a good escape from the horrors of our times? What kind of other artists, regardless of medium, have you been geeking out on as of late? Andrew: I LIKE TO READ A LOT. FOR ME, A GOOD AUTHOR CAN TAKE YOU ELSEWHERE. LATELY I'VE BEEN REALLY INTERESTED IN FIRST-TIME NOVELISTS. TOM MCCARTHY, STEPHAN HALL, STEVE TOLTZ, JOSHUA FERRIS -- ALL HAVE WRITTEN INTERESTING NOVELS RECENTLY. Hemphill: NDS: THE LEGENDARY PINK DOTS, SIGHTINGS, ONEIDA, PINK DOLLAZ, WU-TANG CLAN, KING TUBBY, CHOPIN, MORTON FELDMAN. ARTISTS: CHRISTIAN BOLTANSKI. SADLY, ALEXANDER MCQUEEN'S DEATH HAS PROMPTED ME TO REACQUAINT MYSELF WITH HIS WORK. Since your sound seems to vary so much from album to album but still retains a similar vibe, I was wondering how your songwriting process typically works. Does one person usually bring in most of the ideas or is it more collaborative? How does a typical Liars song come forth into the world? Do you conceptualize it beforehand or is it more of a spontaneous process? Andrew: WHEN WRITING FOR AN ALBUM, WE GENERALLY DISCUSS CERTAIN IDEAS OR MOODS WE'RE INTERESTED IN. THEN WE GO AWAY AND WORK INDIVIDUALLY ON CREATING SONGS THAT EXPRESS OUR OPINION OF THAT MOOD OR IDEA. ONCE A GOOD AMOUNT IS COLLECTED, OR ENOUGH TO MAKE US FEEL CONFIDENT THAT WE'RE ON THE RIGHT TRACK, WE'LL LISTEN AND TALK A BIT MORE ABOUT THE MATERIAL. IN THE FINAL STAGES, WE DECONSTRUCT THE SONGS AND RECONFIGURE THEM IN THE STUDIO. Hemphill: TYPICALLY, ANGUS AND I PRODUCE FAIRLY COMPLETE DEMOS AND SHARE THEM WITH EACH OTHER. FOR THIS ALBUM, WE ALLOWED MORE TIME FOR EXPANSION AND REVISION DURING THE "SHARING" PHASE OF THE PROCESS. The last time I talked with you was right before you went on tour with Radiohead. How was that experience as a whole? Are those guys really telepathic androids from the 5th dimension phase shifting through our time space in order to blow our minds, or are they fairly down-to-earth guys? If you had to pick one nugget of wisdom you took away from the whole experience, what would it be? Andrew: YEAH, THAT WAS A REALLY GREAT EXPERIENCE. AND THEY ARE EXTREMELY DOWN-TO-EARTH GUYS. I THINK ONE OF THE BEST THINGS TO WITNESS WAS HOW EACH OF THE MEMBERS IN THAT BAND CONTRIBUTED SO MUCH TO THE SOUND THEY CREATED ON STAGE. IT REALLY SEEMS LIKE EACH PERSON IS ABSOLUTELY INTEGRAL TO HOW THE BAND FUNCTIONS. THERE WEREN'T ANY TRICKS, EITHER; IT WAS ALL REAL. Hemphill: GREAT. NO. THERE'S NEVER AN ACCEPTABLE AMOUNT OF PRESSURE. You'd also mentioned before that you intentionally induce insomniac states as a means to bring about creative inspiration. Any such practices involved with the making of Sisterworld? Andrew: YEAH, REALLY, WHENEVER I HAVE THE CHANCE TO GET FOCUSED, I LOSE THE NEED FOR TIME. MY BODY CLOCK GOES OUT THE WINDOW, AND I LET THE WORK DICTATE REST. OFTEN I FIND MY IDEAS GET LOOSER AND MORE UNINHIBITED IN THE HOURS BEFORE COLLAPSE. Hemphill: I HAD 2 SEPARATE INCIDENTS OF NERVE DAMAGE TO MY SKULL DURING THE WRITING AND RECORDING OF THIS ALBUM. WHAT THAT HAS CONTRIBUTED IS LEFT ANSWERED BY THE LISTENER, I SUPPOSE. As someone who thinks in a more shamanic or magickal context, I think dreams are often direct communications with what some would refer to as a "holy guardian angel." With that in mind, what's the weirdest dream you've had in the last year or so, and what do you think it was trying to tell you if anything? Andrew: THE FIRST TRACK ON THE ALBUM WAS A DREAM. I DESCRIBE IT PRETTY LITERALLY IN THE SONG, BUT BASICALLY IT FELT LIKE SOMEONE CLOSE TO ME WAS DYING, AND I WAS INCAPABLE OF DOING ANYTHING TO HELP HIM OR HER. I WOKE WITH A HORRIBLE SENSE OF GUILT AND SOMEHOW FELT LIKE I WAS BEING REMINDED THAT I NEED TO BECOME MORE ENGAGED WITH MY SURROUNDINGS AND THE PEOPLE IN IT... Hemphill: DREAMS FOR ME REMIND ME THERE'S A LARGE PORTION OF MY MIND I CANNOT CONTROL OR SUMMON. SCHIZOPHRENICS OFTEN RELATE THE LACK OF CONTROL IN A DREAM STATE WITH THE LACK OF CONTROL CONCERNING THEIR AUDITORY OR VISUAL HALLUCINATIONS. THAT BEING SAID, THE MOST HORRIFYING DREAMS I HAVE ARE FRIGHTENING DUE TO A LOOK OR DESIGN THAT IS COMPLETELY FOREIGN TO MY FAMILIAR TENDENCIES OR PRACTICES, YET OBVIOUSLY PRODUCED BY MY MIND. FOR EXAMPLE, I HAD A DREAM THAT TOOK PLACE IN A FUTURISTIC ENVIRONMENT WITH VISUAL ELEMENTS I WOULD NEVER CHOOSE, NOR IMAGES I WOULD INTENTIONALLY RECORD FOR MEMORY. THE FRIGHTENING THING IS THAT THERE IS A PORTION OF MY MIND THAT IS VERY ACTIVE, AND UNCONTROLLABLE.

www.liarsliarsliars.com

Imagine you are a sweet, lovely young lady, and you are having a dinner party. You invite your good friends Björk, Feist, and Karen O of the Yeah Yeah Yeahs. When dinnertime comes, instead of serving them food, you just eat the three...

 
With the release of their self-titled album in 2007, HEALTH, clad in tight jeans and neon t-shirts, solidified their place amongst hipsters and teens. But while the group quickly appealed to these demographics, they had alienated themselves from the mainstream, written off by many as musicians more concerned with style than music. Two years later, their new album, Get Color, exemplifies their newfound maturity as songwriters and renders them whole conceptually. Whereas HEALTH went completely over the heads of mainstream audiences, Get Color is a bit more accessible to the layperson. Its tracks are more discernible as songs, and for the most part, they are no longer just noise, proving that HEALTH are more than a group with just a distinct fashion sense. While still experimental, the songs now harbor more melodies and qualities found in traditional songwriting.
"I think we just got better at writing our songs," says bassist John Famiglietti. "We don't want you to only like [our music] because you're supposed to like it or you like it because it's cool. I don't want you to scratch your fucking head. It should be immediate... I think [the new album] just makes our music more effective." To drive this message home, the quartet recently come off a tour supporting Nine Inch Nails, and despite getting pretzels thrown at them in Atlantic City, New Jersey, and an equally terrible show in Jacksonville, Florida, Famiglietti has only great things to say about the experience. "Trent is just about the coolest dude there is, especially for being someone who's like pretty openly worshiped by all people coming to the show," reveals Famiglietti. "After [our] first show, Trent was like, 'Hey, I don't even know what the hell's going on up there... why don't you guys use all the screens behind you?' We used literally several multi-million dollar LED screens which were like 20 feet high, and infrared cameras were put on all of us... our shows went way better after we had this gigantic light show." BAND INTERVIEW CONTINUED BELOW