The Liars Club
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The Liars Club

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"Band Of The Week"

Digits top band this week is .......................

The Liars Club



Soooo... my only disappointment with this collection of killer songs is, that there's only 5!!

If you dumped Queens of the Stone Age and Janes Addiction into a room for a jam, this is what you'd get.. Edgy rock that meanders from moody in places, to balls to the wall Rock 'n' roll!

I swear you'd think David Grohl was beating the skins to 'Wide open Beaver', big up Steve P for this one. On 'Wedgewood Hop' there's choppy guitar courtesy of Chris Craig that Dave Navarro would have been proud to have written and recorded.

Throw in some ROCK SOLID bass lines and some classy rock vocals, you get music that hits the rock spot!

Even through my crappy speakers you can hear some slick production goin' on. I suggest there's alot more that can be had from this Seattle quartet. Lets hope the upcoming EP isn't too long in the making!!


written by DIGITS
- GoTSeeN.com


"Demo review: The Liars Club"

By taking the influential sound of the 90s Seattle scene and mixing it with the strong pop melodies of 60s rock bands, The Liars Club give us deeply rhythmic, fuzzed-up anthems that are both comforting and dynamic.
‘Wide Open Beaver’ is a rich, bustling wallop of an opener, echoing the Queens Of The Stone Age’ bass-heavy sound with machine-gun vocals rapidly firing off lines. ’Wedgewood Hop’ is the star of the show, wallowing in dark chords with the fuzz on the guitars making them sound like the band are underwater whilst the vocal is initially a clear and present whisper before it opens out into a laconic swagger.
There’s much about this band that has been heard before but it seems crazy that a record label hasn’t yet picked them up. Songs like the sprightly ‘Trust Fund’ with its monster rock riffery or the combination of steady guitar picking and lilting Kings Of Leon croon on ‘Born On A Friday’ should have the record execs hammering at their door. In three words, this… band… rocks.

John Skibeat - Sonic Dice


"4 Song, self released, little shiny demo disc"

While everyone has – and is entitled to – their own preferences, for me the perfect place to digest a new CD is driving in my car. I know, I know – Daniel Blue and plenty of others would probably point out what an outdated, non sustainable and downright environmentally evil way that is to listen to music – but there’s just something about it. Tell the earth I’m sorry.

Loud music in the car is awesome. There’s no way for me to get past it. I love the way the drums knock around in my chest thanks to the close confines of my Volvo, and there’s nothing quite like the way a crunchy guitar, lit cigarette and open windows make me feel.

Alive. Vibrant. Cooler than I actually am.

In that light, today I waited until my drive home from Weekly Volcano World Headquarters to dive into this week’s record. When I say “this week’s record” I mean record to be reviewed on www.weeklyvolcano.com, but you probably caught onto that. I’ve been doing this for a few months now — Thursday comes. A record gets reviewed. It’s not rocket science.

Anyway, this week’s lucky band is the Liars Club from Seattle. They sent me a four song, self released, little shiny demo disc sometime in July — and out of the impressive pile of promotional garbage that sits in the corner of my office today I picked it out. It had attractive packaging, and four songs seemed like something I could get a feel for during my half hour drive home.

First of all, if you’re long enough in the tooth or educated about Northwest music, the name “Liar’s Club” might sound familiar. We’re not talking about the local pop band from the late ‘80s and early ‘90s. Make no mistake. This band – officially “the Liars Club” – is completely different. The band’s rejection of apostrophes is just the start.

The disc opens with, perhaps, the Liars Club strongest song — “Wide Open Beaver.” (When you’re done giggling like a junior high boy, please continue.)

The song is thick, and heavy — perfect for a drive home from the office. The promotional flyer that accompanied the demo says at the bottom:

“Musical Influence (Sounds Like): Queens of the Stone Age, Fu Manchu, The Kinks.”

For a self assessment, it’s not bad. The Liars Club has definite levels of osmosis QOTSA. I was instantly reminded of my all-time favorite QOTSA record R — a pretty good sign in my book. Singer K.C. Rehberg’s voice is in its element, and the guitar work of Chris Craig along with the drumming of Aaron Nichols is tight as can be. The disc’s first track had me loving the Liars Club.

If “Wide Open Beaver” showed off the band’s QOTSA influence, “Wedgwood Hop,” the disc’s second number — shows off the band’s Don Henley, “Boys of Summer” influence — and I’m not sure it’s intentional. For the band’s sake, I truly hope it’s not. Elements that had sounded so promising on “Wide Open Beaver” became cheese-dick on “Wedgwood Hop.” While the song does highlight the band’s melodic and poppy song writing capabilities, “Wedgwood Hop” also sounds like its been chaffed and roughed up by Glen Frye’s five-o’clock shadow face — and I’m not even talking good, Eagles Glen Frye. I’m talking Miami Vice Glen Frye here.

“Trust Fund” is a rebound track. It doesn’t amaze, but after the Phil Collins like assault of the previous song, almost anything is improvement. Rehberg’s voice sounds like it’s not stretched beyond repair, which is a pleasant return, and the steady bass of Alex DiFabio reminds the listener of the Liars Club rock potential. The song is a pretty standard rock tune, but if you’re taking in the Liars Club for the first time — like I was on my ride home — the band’s demo is two out of three at this point. Not bad.

The disc finishes with “Born on a Friday,” a six minute demonstration of everything the Liars Club has in their tank. Softer than “Wide Open Beaver,” but not as nearly as laughable as “Wedgwood Hop,” “Born on a Friday” goes back and forth between rock and pop intellect — utilizing time tested loud/soft dynamics – and meandering through a cozy but rough edged rock aesthetic. The result is truly impressive.

The Liars Club demo opens with the band’s best rock song, and finishes with their best all around product. With one halfway decent tune and one clunker packed between – I’d still say the Liars Club has a pretty decent batting average. If nothing else, the Liars club is certainly a player to watch.


Matt Driscoll - The Weekly Volcano


"A Club of Their Own? A Bit of Liars Club + Free EP"

Went and saw The Liars Club Saturday night at The Bit Saloon. Perfect place to see them. Seemed like their kind of crowd.
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Interesting night all around…Monty Python references abounded–from the ‘Spam’ door stamp, to the “I Fart in Your General Direction” t-shirt the bartender wore. Didn’t help that my buddy and I had just randomly seen the Spam sketch prior to heading out that night. Was it predisposition or preordained?–I’ll never tell.
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I must admit, I didn’t catch much more than peripheral audio from opening band, Pablo Trucker–not an indictment of their music, it’s just that I happened to be playing the world’s longest game of “Elvira” pinball ever. Won’t bore you with the details, but suffice to say The Bit’s table ain’t quite right.
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I was pleasantly surprised by the unassuming Seeing Blind. They had energy, something very unique to offer, and even though their tunes weren’t really my thing the crowd seemed to be enjoying themselves. I mean they have a cellist, fer chrissakes! And her contributions were no gimmicky afterthought. Overall, quirky, skillful, arty stuff without putting on arty attitude. Check ‘em out if you like your rock infused with a bit of jazz and an odd quasi-mix of Throwing Muses, Jeff Buckley and Tori Amos. (Don’t blame them if the comparisons are off. Again, not my area of expertise).
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Round about midnightish The Liars Club came on. Guitarist, Chris, had let me in on the prior night’s drama–Bassist, Alex, had either severely sprained and/or broken his left fretboard-fingering wrist. Thing was all swollen up and wrapped in a brace, but there he was–ingesting various suggested ‘pain-relievers’ and downing medicinal adult-libations. And at the volume The Liars Club played, I can honestly say I couldn’t tell if Alex was ‘on’ or ‘gone’. It was my first time seeing The Liars Club live, and I gotta say they did not disappoint. Sufficiently loud, sufficiently energetic (especially with newish drummer, Steve), and sufficiently polite (singer K.C praised a show-goer for his ‘metal-hair’). It’s true–dude was fully metal from the frizz halo around his Mustaine-do to the toes of his butt-rockin’ boots. The Liars Club weren’t dissin’ on him either–they were sincerely appreciative of his attendance and style. That about sums up their vibe that night. Happy to rock some faces, and makin’ the best of The Bit’s small space (K.C patrolled the crowd like a death-spiraling fish in a tank). I’ll give ‘em a Bronze, with most of the minus being a technical deduction for the apparent physical handicap. Nevertheless, they medal (or should I say ‘metal’)–and I’m pretty sure next time I see them they’ll stand taller on the podium. (and there will be a next time).

8-25-08 by Squeaky clean tyrone green
- Seattle Subsonic


"The Liars Club EP-Gp Forth and Wrend Assunder(sic)"

I make it a point to listen to any new album or EP I buy, and sometimes the ones given to me, at least 10 times before expressing an opinion. The idea is to let the whole outweigh the individual experiential moments and to let a piece of music sink in.
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Some albums take you in a note or two (typically a band you already love), and others grow on you later like a strangely familiar de ja vu or a delayed epiphany. I’ve come to love albums that at first did not grab me. I’ve also loved records or bands and listened them a lot, then I get burned out and they fade away. You can’t always go with your first instinct. But I trust music more than I trust most people, and I give it a wide birth to work its magic.
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The Liars Club E.P. is all of 4 demos, but it’s got enough obvious strengths to rank in the 75th percentile of homespun bands. It’s good, better than many, but it’s not a totally cohesive work. Not that it should be. It’s a four song EP/demo for chrissakes. It’s a bit all over the place, and it covers a lot of ground in just four songs. And that, in a nutshell, is both the strength and weakness of the band, and the songs. There’s a bit of magic here, and there might be more in a live setting.
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To this listener’s ears, there’s elements of Pixies, Queens of the Stone Age, even a tinge of The Cult in their orchestration and delivery. But it’s not that they sound retro or obviously derivative–they just mix in some pieces and parts that echo the energy, delivery and/or aesthetic of those bands. They sound like a rock band. And they sound ready to prove it to you.
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That was my assessment after having only listened to their songs from their MySpace page, on laptop speakers and headphones no less. And I didn’t give their MySpace page a second glance. I’m not going to evaluate the merits of a band or their music based on the layout of their own self-designed web-presence. That may be the way of the average 14 year old these days, but I’m no 14 year old. So I listened my requisite minimum ten times, and then I called TLC’s(apologies) guitarist, Chris Craig, to get the story behind the band.
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Chris tells me singer, K.C., started the band several years ago, and that it’s been through a few iterations since. A full length was released, with various lineups performing throughout the northwest. Around 2006 Chris hooked up with K.C. and the two began writing new material. Alex joined soon after on Bass, and recently Steve took over on drums. Chris expects the band to spend a couple of months working out new material and to begin playing shows in late summer and the fall. The EP was recorded by Jules Hodgson of KMFDM, and produced by Martin Feveyear, of local fame and lately of Blue Scholars, Brandi Carlile and Presidents of the USA. It’s a solid, professional sounding effort, with just enough polish to make sure repeated listenings reveal the music and not the lack of a major label’s backing. Long story short, this is a band with a bit of history, a bit of new blood, and a new lease on life.
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So what about the music? “Wide Open Beaver” launches with a distinctly Nirvana-esque Bleach-era intro, but quickly shifts tempo and sounds more Fu Manchu than Kurt Cobain. “Wedgewood Hop” changes gears, exchanging riffs for mood and a rolling guitar line leading into the verse. This song shows the most variety of parts and some of the better hooks. You get the sense the band’s following probably sings along with this one the most. “Trust Fund” reminds me of Love-era Cult, but K.C.’s vocals are neither reminiscent, nor copping the vibe of Ian Astbury’s hippie headbanging. And that’s a good thing. “Born on a Friday” opens with keyboard and could be the illegitimate offspring of The Raconteurs and Kings of Leon, but in truth it sounds nothing like either of those bands. It just reminds me of them.
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As I said, these four songs cover a fair amount of ground. But none of them lack for the energy that should translate to an energetic live show. And that is, after all, what you ask of a local band when they’re getting it together and performing new music. You want something that catches your ear, maybe a performance worth watching, and hopefully a future to anticipate and participate in. These guys may yet cover all that ground too.
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I haven’t seen them before, let alone 10 times, and it’s only going to take one show to know whether the songs here translate well to a live performance. That’s a chance I’ll take, and I’ll tell you something else–their EP has been in my car’s disc changer for 2 weeks straight. And that hasn’t been the case for the Pixies, QOTSA, and definitely the Cult for quite a while.

- Seattle Subsonic


Discography

2005 Self titled full length
2008 The Liars Club EP

Photos

Bio

First there was KC. Freshly renewed to rock and roll after years of jazz performance, inspired by the sound of Ritual De Lo Habitual, and The Liars Club was formed. A revolving cast of members and a self titled full length release later, the name and reputation in the Seattle rock scene was building with a slough of shows at venues all over the NW. Fall of 2006 KC found a guitar player to his liking in Chris Craig, who brought a rhythmic stabbing and searing tonal presence to the music. The two instantly began writing, and found a new voice together, shaping the sound of the new music for The Liars Club. Falling somewhere between the influential sound of early Seattle music of the 90's, strong pop style melodies of great 60's band like The Kinks, punk, and great hard rock, their sound was formed. Soon joining the rhythm section was Alex Difabio, a Chicago transplant who came to the northwest seeking new musical avenues. A perfect fit to The Liars Club on bass, he filled in the spaces one guitar could not, and widened the dynamic within the band. The newest member of The Liars Club family was Steve Popplewell on drums. Previously drumming with Sledgeback, Steve brought a powerhouse wallop to the drumming that cemented that hard as nails sounding rhythm section so crucial to the sound the songs demanded. This is the brief history of The Liars Club.