Liars On Oasis

Liars have gone through this decade's hype and destroy cycle and emerged victorious. Rather than return to the dance-punk party long after the keg had run dry, the band took the widely panned tribal sounds of sophomore release They Were Wrong So We Drowned (2004) and refined them toward the excellent Drum's Not Dead.

Now, with nothing to prove to the critical establishment and armed with the most easily accessible album of their career (Liars), the boys have hitched a ride on Interpol's massive stadium tour.

On the afternoon of that trek's New York City stop, the band's principle members -- Angus Andrew, Aaron Hemphill, and Julian Gross -- talked in their cluttered Midtown hotel room about bringing their uncompromising live show to a larger audience, the nerve-wracking personal revelations of Liars, and why Oasis wasn't really so bad.

Taken from a interview that you can read the interview in full here or watch a video of the boys talking about Oasis here.

How do you think that's gonna go? [Laughs.]
JG: I'm pretty excited about it. Yeah, "3 Days." I'm ready.

AH: But are you ready for the six-song acoustic EP? [Laughs.]

AA: I've been recently doing the Britpop thing, with Pulp's This Is Hardcore, Blur's Blur. You know, Oasis, man, they write good songs. [Laughs.] The lyrics are just so stupid. It's amazing.

So when people go back and try to find meaning in some of your older, more surreal lyrics, do you think --
AH: There's no connection to the Oasis story!

But is that even a worthy thing for them to do?
AA: It's a cool thing. I don't know if you know, but we never print our lyrics, and it's kind of an important part for us because we love this feedback that we get from kids. They'll write to us an say, "You know, I was wondering what "Mr. You're on Fire" says. Does it say, "House in the world," and all this really weird stuff, and I write back and say, “Yes, that's exactly what it says.” Because it's so well written.

This idea that they can be involved and think about it and develop their own ideas for what it is. So maybe when we use some surreal words or ways of using lyrics, it's really an attempt to allow people to have their own interpretation of it. To take it where they want to. With a literal song like "Protection," I guess I don’t know what it's like for a third party to hear it, but I wonder are you thinking, “Angus on the beach smoking a cigarette.” I don't know if it's so literal that you stop thinking that way. But with a more surreal song, when it's like "Wonderwall," it's like, “What?”

Source: www.prefixmag.com