Kitsuné blessed, London-based autoKratz have been on the sticky end of some serious dance floor love of late.
Rolling in Orwellian cool, you’d think ‘Animal’ would be gnawing at fragile bars, straining to be unleashed. Not so.
It’s a cool-tempered effort, harnessing the languid approach of Kitsuné
honchos Gildas and Masaya,
with searing electro flashes and minimal, roaming electronica.
‘Speak in Silence’ takes the Fischerspooner route, humming with bleak synths and hand claps while ‘Can’t Get Enough’ is in your face like an
all static metal and analogue computer dirge.
‘Gone Gone Gone’ then heads down the techno autobahn but it’s opener
with its killer hook and laser gun chorus, that confirms that autoKratz are delivering more than just a promise.
Their totalitarian state has helped Liars create an album that feels like a collection of songs with a running theme, arguably for the
“That’s important to us,” nods their front man.
“Our last record (the self titled album) was a little bit of an experiment on not doing that; seeing
what it was like to lump a bunch of songs together that were made in the same time period and see how that sat with us.
It was fun as we did it really quickly and it was important for us to do as
it helped us then realise that one of the best bits about
making albums is to give them this cohesion and inject a bit of life into it as a whole piece of work.”
And while we’re talking about change – which it seems like we always are with Liars – there’s the fact that this latest album was recorded not just in the States (for the first times since 2004’s ‘They Were Wrong, So We Drowned’),
but in alien LA, a town that Aaron says the band can identify with.
“It’s going to sound a little cheesy,” he half winces “but that’s how our band kind of functions.
LA is a city that doesn’t function like many others, there’s no real set up, it’s very dislocated, and it’s like that with us – there’s no real centre, it’s spread out and we work in a different way to most bands.
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