How German Is It?

Leaving behind their deeply paranoid and fanatical vision of witches, Liars new record Drum’s Not Dead thankfully leaves the darkness in place, but rather than claw and holler through it Drum floats along like a misty fog through a cemetery. Ghouls abound: this record is liberal in its use of roomsound, exploring every nook of the East German radio facility they inhabited for the recording. These natural frequencies are the primer that Drum is built upon: they give focus to the industrial and tribal rhythms while spartan melodic accompaniment hangs up top. Liars use the album to craft a story based on two fictional artists: Drum and Mt. Heart Attack, Drum being the confident, assertive, and truculent-at-times artist with Mt. Heart Attack the opposite: questioning, frustrated and uninspired, jealous of Drum’s success. That plot sits a distant second to the unbelievable density and power of the music, even though it is also incorporated into the plot. Liars have developed from terse post-punkers, into full-fledged sound sculptors over the course of a short 3-album history.

From the thrust of the storyline it’s plainly obvious Liars are not a pop group; they’re adamantly arty and uncompromising in their vision. Their intentions are not disposable enjoyment but lasting impression. Drum succeeds on this front: it’s a full-length story or dream sequence, not short, unconnected bursts of inspiration. Their records, at least this and the We Were Wrong So We Drowned, are akin to novels and films in their scope. At a time when the album is supposed to be dying because the iPod mixes and matches any artist to another, Drum stands as a reminder that artists with patience and vision will continue to embrace the long view. Whether listeners will demand this type of craft remains to be seen. For the time being, it’s an incredible work of art waiting to be discovered. Take your time.