Liars
WIXIW

You come home with the new work of the Liars. You're there removing the last obstacles that stand between you and the vinyl (that plastic you never know which side to tear) and meanwhile, you notice how spartan the album cover is. It almost looks like a tombstone. You hope it's not a bad omen: you know it's them, the Liars, they couldn't betray you. You carefully direct the needle on the first track with great caution (these days a "real" record has become a luxury).

The first track starts. "The exact Color of Doubt": that's the title of the opening. The atmosphere is rarefied, there are very stretched synths, the voice of the giant Andrew is calm, floating at times. It feels like you're surrounded by lunar sounds; perhaps too "cosmic" even for them. Then, at that point, you remember, and you start to smile: "Do you think you're so clever? I know that in the blink of an eye the guitars will be unleashed and goodbye sidereal pathos". Mistake. Perhaps you're remembering when you listened to their last work (the opening track, "Scissor," indeed developed in this way). Do not expect anything like that from this "WIXIW".

This album differs from the previous two releases for various reasons. First of all, something that is glaringly obvious, the electronic parts have been strengthened. In a few words: their usual instrumentation is not completely abandoned, but they continue experimenting through "new" alternatives that may or may not require the use of a guitar (or a drum) as was done in the past. Let's not call it heresy. Moreover, if one has followed the group through its various evolutions, it can only seem like the usual behavior of this American band. Making continuous experimentation the formula of their project; the form this takes is secondary. But, to be fair, it should also be noted that in the last two albums (the self-titled and "Sisterworld") the initial verve was somewhat limited, perhaps focusing more on incisiveness and almost physical impact (their live performances confirmed this intention of theirs). After these more "direct" releases, "WIXIW" takes on the task of bringing everything back to the starting point. Yet, in doing so, it transfigures the initial material. This desire to resume the attitude of the early records, as if returning from a journey, cannot but come back loaded with the accumulated experience.

Precisely for this reason, the new material marks almost a turning point from past production. More than a step back, compared to the physicality of the last two albums, it seems almost a run-up to leap beyond the already beaten paths. There are changes, but they remain, at the same time, always within the perspective that had given life to works such as "They were wrong, so we drowned". This change is welcome. Instead of basking in success, these American guys have decided to put themselves back on the line. Faithful to the attitude that had made them successful.

The album, specifically, has traits that, although referring to the past poetics, stand out under new perspectives. Perspectives that would not exist without the omnipresent synthesizer: almost a leitmotif of the entire album (try following the structure of the title track to have clear evidence). The rhythmic section, previously entrusted to a nearly "muscular" drum, relies on various analog contributions; almost to make the overall sound more subdued and muffled. This development in the rhythmic bases, where perhaps the new paths undertaken are more evident than elsewhere, still offers very direct and incisive moments ("Brats"). Yet, what remains at the end of the album is an aftertaste made of contemplation and silence. Almost as if a requiem were indeed being celebrated in the shadow of that gloomy cover.

In the majority of the cases, they aim to recreate a fluid and rarefied atmosphere. A kind of mist laden with prayer and resting on a tenuous rhythmic base as outlined by "Who is the Hunter" (just to bring up an example). In general, this "WIXIW" testifies to the group's desire to continue having credibility and the rightful claim that every new release should, at the very least, have something to add to the group's evolution.

The needle lifts from the vinyl and returns to its starting position. They have taken a different path from the past, they have assaulted you from a blind corner. But you're not sorry. In the end, you realize that no matter how much they keep experimenting with new solutions, they're always them. You would recognize their sound no matter which path they take. For this, and many other reasons, they have not disappeared into oblivion like illustrious appearances of the last decade.