Mute Voices: Liars

Mute Voices: Liars

11 May, 2011 | 2.14AM

• Written by: Beatportal
• Filed under: Music News: liars, mute, short circuit

In anticipation of this weekend’s Mute showcase at the Short Circuit festival at London’s Roundhouse, we reached out to a handful of the label’s artists to share their experiences with the imprint. First up: the incendiary, uncompromising Liars, responsible for some of the most terrifyingly beautiful noise/psyche/witchcraft-rock of the past decade.

Do you remember the first Mute record you owned, or the first time you became aware of the label?

Aaron Hemphill: My big brother had Depeche Mode’s Black Celebration when it first came out. I remember trying to draw the DM flag logo after looking at the album artwork on my school folders. I didn’t know what Mute was, but I remember trying to draw the Mute logo as well that was either on that album, or on one of the other Mute releases my brother had… I thought it was part of the artwork or the band’s gang or something… My brother is one of 20,000 or so people that live in LA that play Depeche Mode’s 101 and literally try to convince you they can pinpoint the moment their scream or display of affection if directly captured on that disc and recorded for eternity. “Wait… you can hear me scream… right......now! Now! Did you hear me? That was me!”

What do you think are Mute’s biggest contributions to the music world? What will be their lasting legacy?

AH: Obviously Mute’s catalog of music beginning with the early years: a new and vital approach to electronic music in the beginning, one that was expressive, funny, dark, experimental and pop-friendly all at the same time. Later expanding to incorporate different sounds both electronic and more traditional, though all with the same adventurous sensibilities that meet the Mute standard. I find it very inspiring how Mute was started and still continues to operate. From Daniel Miller’s mother’s house to London now, the emphasis on great music and pioneering has always been prevalent.

How did you come to join the Mute roster?

Angus Andrew: Paul Smith of BlastFirst/Mute found us in late 2001. He had heard our first record, Trench, and made his way into Brooklyn to see us play a show in a disused auto shop. I remember him approaching us—saying he was from Mute records and wanting to talk. I freaked out. For some reason I don’t think i believed him—anyway, after a couple of days we got an email that was very clear… and we couldn’t have been happier.

What’s it like to work with Daniel Miller?

AA: When it comes to making an album we basically consider Daniel as a bandmate. His opinion is that valuable to us. This trust was established early on when we were finishing work on our first album after signing to Mute, They Were Wrong So We Drowned...

Though some people’s reaction to this record was quite negative, Daniel’s response after hearing it was simple—that the vocals should be louder in parts. To us, this was the ultimate gesture of understanding and proved to be exemplary of the way our relationship would develop over the years.

Could you name a few of your favorite Mute releases from over the years?

AH: Some of these may have not been originally released on Mute, but they’re on Mute now…

Suicide - Second Album. One of my favorite albums ever, maybe my favorite band next to Prince and The Revolution. This album has my hands down favorite Suicide track, “Las Vegas Man.” Alan Vega singing about dreams coming true while making his own dream come true. “Diamonds, Fur Coat, Champagne...” I mean, there isn’t a bad song on here. Martin Rev’s arrangements are mini soundtracks to mini movies.

Mute Audio Documents CD set. Includes an amazing range of music from Mute artists. A digitized version of Non’s (in)famous Loop Edit Of 1’30” at 33 rpm, SMEGMA, Robert Rental’s “Double Heart"/"Paralysis" 7”, all of the great early Depeche Mode singles, Fad Gadget’s “The Box,” so much amazing music in a really nice package. (Volume 2, Volume 3, Volume 4)

Einstürzende Neubauten - Strategies Against Architecture. The first in a series of collections from this amazingly influential band. We used this album cover for a single of ours from They Were Wrong So We Drowned, where we defaced the original to make it our own. I remember I had to call Blixa on the phone to ask permission, and I was so nervous. I had the conceptual reasons locked down, but I was so scared I would blow it on the phone with him and we wouldn’t get to execute our idea. He was extremely nice and happy to give us permission.

Depeche Mode - Some Great Reward. My big brother, next to Angus, is the most important musical influence in my life. I remember him buying this album and we listened to it all summer. I know I’ve already mentioned him, but… I tried to copy his every move, I was so little and annoying. I can hear any song from this record and be instantly transported back to my childhood. We didn’t have any adult supervision… we were just these feral street kids running amok listening to punk rock, The Cure, Siouxsie and this record.

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