Liar – Genesis Dubs

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Liar has always been our resident tearjerker here at Infinite Machine. Whether through the esotech balladry of “Undance”, the urbane pop mélange of “Strange Love”, the dream-spawned narrative arc of “Spirewards”, or the sonic megalomania of “Cybertime”, he’s always been adept at dual-purpose musicianship – splicing disparate strands and epochs of music into cohesive works that are both instantly cathartic, and inquisitive upon repeat listen. In the wake of his recent sabbatical, spent developing Tessier-Ashpool Recordings, crafting and curating aural sci-fi, immersed in prescient avant-club 24/7… he’s been aching to let off some steam, curb the functionalism for a second, and tickle some heartstrings again.

Which brings us to “Genesis Dubs”. A classical, roots record for Liar, this latest IM EP revisits his first love – 90’s jungle and rave hardcore -, while serving as a repository for his most enduring feelings yet. It finds him now indifferent to the worldly love, hatred and anger that have fueled his past work, and instead concerned with ancestral regret, orphic redemption and immaterial deliverance. The biblical theme was, as such, opportune; but do not mistake this for a Christian jungle record – the Genesis verses that chronicle Cain’s exile are nothing more than ancient Sumerian and Babylonian legends articulated and formalized. And Liar is nothing if not formal.

Opener and lead cut “Enoch Dub” interpolates Liar’s first ever recording under his current pseudonym (a disheartened treatise on immortality – the lyrics of which can be found below), before fulminating into a thunderous 140bpm jungle affair, equally indebted to the likes of Dillinja, Goldie and DJ SS, but ultimately its own beast. “N0d” is a rave hardcore stepper that contrasts Chicago house leanings against a subversive, artisanal use of rave mainstays – air horns are pitched and reverbed into sprawling, lush pads, and metallic piano stabs serve an almost percussive function. The only true, 160bpm jungle track on the EP, “1derer”, is, ironically, the least junglist of the four – gothic, tribal and cinematic, it’s the “Inner City Life” that could (and should) have blared from the temples of the biblical First City. Closer “9 AD” is a hurried, reese-laden ambient number that’s as suggestive of apocalypse as it is of paradise – perhaps equating the two?