Liars’ latest full-length opens somewhat portentously. ‘Scissor’ is a simmering opener, broiling with visceral inevitability; a fitting announcement of their return to the fray. But, does the rest of Sisterworld continue Liars proud tradition of innovation within their own parameters?The answer, predictably isn’t simple. Liars' latest is less pointedly abrasive in many ways than their previous efforts, but still manages to differentiate itself. Stylistically it’s closest to 2006’s Drum’s Not Dead but feels sparser, more languorous, more knowing.By the time you have recovered from ‘Scissor’, you’ll be pretty much dropped straight into third track ‘Here Comes All The People’. It begins with a single, surf-gone-bad guitar line before breaking into whispers, a haunting melody and ponderous, menacing beats. ‘Drip’ continues this theme but it’s not until the following ‘Scarecrows On A Killer Slant’ that we see the true payoff - a belligerent, crazed, compelling slab of distorted noise.These dynamics may not surprise Liars familiars but it’s a tight formula, and one overlaid this time around with a new sense of focus. Also novel is the direction latter tracks such as ‘Goodnight, Everything’, ‘Too Much, Too Much’ take, as though Liars are trying their hand at shoegaze. The former opens with melodic strings and refrains from introducing the beats for a good minute fifty, and then softly. The latter track especially shores up Angus’ ambling chants with an almost twinkling guitar line, a cello motif and a gentle swirl of synths to close out the album. In the context of the album it's a totally effective tonal shift.Liars succeed in once again bridging the gap between their previous sound and a subtle new direction, this time perhaps with more of a gleam in their eye than a wry smile. It’s not the consummate Liars record, but then Liars have always thrived on being underrated and on the periphery, free to grinding along new tracks without ever jumping the shark. This is one of those records that seems especially important in the context of the band’s history, but nevertheless stands up to scrutiny on its own merits.

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