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Lies

by LIES

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Tobi Schäfer
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Tobi Schäfer It gives me goosebumps! Reliably.
(Except for the sax solo in Echoes… but that is just me.) Favorite track: Knife.
Kirk Gauthier
Kirk Gauthier thumbnail
Kirk Gauthier Rich, lush, and yet ethereal indie pop. This album is absolutely brimming with highs, lows, and everything in between. It’s everything pop music should be but isn’t. Favorite track: Echoes.
saddestblin
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saddestblin This is everything I think "pop" music should be. A glassy, cool, watercolor world full of every instrument imaginable. I first listened two days ago and was hypnotized. And now I'm recommending it to everyone.

Just bravo, Kinsellas. Never stop making music, please. And I hope this one gets big. Favorite track: Echoes.
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1.
Blemishes 04:42
I wish I could set free those frozen eyes and what they imply staring back at me More demure than I for sure You are from afar a saint to love me blemishes and all… I’ve been looking so long at these pixels of you I don’t know what to do I’m a student of the grossest anatomy Of an archaic love where our two bodies meet blemishes and all… You’re in my head and I’m in your mood I refuse to leave this bed without a parachute unless every odd obsession and every dark confession every self-reflection indiscreet reminds you of me If those eyes never move I don’t know what I’ll do I’ve been looking so long at these pixels of you I don’t know what to do I’m a student of the grossest anatomy Of an archaic love where our two bodies meet blemishes and all…
2.
Echoes 06:15
Every breath you breathe is an apology Your eyes are all cried out Every goodbye is a rest in peace But every cut that bleeds led you to me Every mirror you pass looks lonely Your mind is cast with doubt Every loathsome mistake echoes her name But every cut that bleeds led you to me In the absence of love, why did you covet the cover of night? Maybe your true colors are lies Do you bleed black and blue? Or is that a disguise? The echoes will fade in time… Friends and family are all out of sympathy Your lies too big to hide Now every time you pray you burst into flames But every cut that bleeds led you right to me Maybe your true colors are lies Do you bleed black and blue? Or is that a disguise too? The echoes will fade in time… In the absence of love unknown courage flourishes If that’s not enough then steer clear of mirrors
3.
Corbeau 03:37
I read your bones like a Brautigan poem Over and over I traced your shoulders and in the margins I took notes for your future lovers to discover I read your bones like prophetic stones Now I know your secrets (you can’t change what the ink says) You were born to be adorned and I’d die to be buried on your sleeve Corbeau unbridled I see the Sun through all your clouds Not everyone’s as lucky or allowed I read your bones when no one was home I’m sorry for the last time
4.
Passive aggression and not so subtle digs I built a house out of angry bricks I bit my tongue until it bled Blood in the sink Blood in the bed If memory serves even the wedding dress was red I threw it all away to find a voice in the dark Consumed by every thought depraved I was doomed from the start As soon as you surrender to a life libertine Desire you never knew burning inside of you can finally breathe Compassionately frail Relearned to exhale A resurrection of faith in my rapacious ways The sooner you surrender to a life libertine Desires both old and new drowning inside of you can finally breathe Now I’m passion aggressive O, how you’ve been missed… I’ll happily swap love for spit I’ll wear your heart on both sleeves Your lips like jewelry Which lipstick should I pick?
5.
Broken 04:30
Broken necks and broken strings Broken hearts and broken family Broken you Broken me Broken vows I broke fucking everything just to hear myself sing I keep waking up under water Overdressed and overserved Let’s fight over who gets to rummage through the wreckage first I’m over you You’re over me Congratulations! We’re both free I keep waking up under water I can’t find my keys or my way home I keep waking up under water Is this a dream? Or is this love? Or am I a monster?
6.
Camera chimera Too obscene to be unseen Lights dance in the mirror but they don’t dance for me Blessed are those in life without a jealous bone to fight Will I forever live in fear of this camera chimera? Or will I die on this floor forever scarred and scared? I’m too impaired to even care An imagined crime so cruel and clever plays over and over again in my head It never ends… Camera chimera Too obscene to be unseen I see it in the mirror I see it in my sleep C’est tout le temps… Blessed are those in life without a jealous bone to fight Will I always live in fear of this camera chimera? I’m going to die on this floor Forever scarred and scared I’m too impaired to even care An imagined crime So cruel and clever Plays over and over again and again in my head and I’m afraid that it won’t end
7.
Winter had a sister Her fate foretold I loved her and I miss her but I don’t miss the cold Or the frost behind every stare A cross that I cannot bear It must Summer somewhere… Winter had a sister My last breath and name she stole with a whisper that haunts me till this day A frost behind every stare A quiet I cannot bear anymore Severed ties several times (mostly in my mind) An affair Calamitous despair A lust for Summer somewhere…
8.
No Shame 05:49
You’ve been human all over the world A veiled mistress in Paris And a bore in New York Mistakes were made along the way (but they don’t define you) There’s no shame in anything You’re alive It’s alright You’ve been a villain and weathered the storm You made a widow in Kyoto and quite the scene in Singapore And on your grave it will say, “There’s no shame in anything” You’re alive It’s alright
9.
No one knows you but me and no one knows you’ve been running around A wolf in sheep’s clothes Hungry and alone You’ve been painting the town with my blood No one knows you but me And no one knows the face that they see hates to be seen You poor, desolate soul hiding in shadows Rouge Vermouth I lost myself inside you so you could ache like I do You spilled chartreuse In every cut In every open wound No one loves you Not like I do With gun to my head A dead horse in my bed Heaven sent and hell bent to wither on your own Rouge Vermouth I lost myself inside you I want you to ache like I do You spilled the last of the chartreuse In every cut In every open wound I’m forever lost inside you
10.
Knife 04:26
I’m down on my knees I’m sorry and eager to please I’m a child without enough sleep I’m criminal to think what I think And It’s too late in the night to reach for a knife I’m down on my knees again I pray to be set free from sin I’m a convert A skeptical priest I’m Jesus Christ after too much to drink But it’s too late in the night to reach for a knife Those baptized in my river, they know my tides rise high and the wine, it flows Sarah, I’m scared of losing everything Sarah, I know my place On my knees I’ll behave I swear I’ll behave! Sarah, I’m scared of losing everything Sarah, I know my place
11.
Sympathetic eyes It’s the perfect disguise Well I’ll play along You wear the crown and I’m reluctant royalty You’re the queen of a crowd and I pray that no one notices me Sympathetic eyes Only after the curtains rise Go have a good time
12.
Merely 03:05

about

The risk of making anything that becomes beloved is that it comes to define you, to foster expectations of what you do and even who you are. Only a glance at the vast catalogs of cousins Mike and Nate Kinsella shows how wide their musical interests have always been, from the idiosyncratic experiments of Nate’s Birthmark and his time in the great Make Believe to Mike’s twisting path among Cap’n Jazz and Owen. (Fun fact: They both even shared stints in Joan of Arc.) But at least right now, Nate and Mike’s most recognizable work together may be their contributions to American Football, a band that entered its celebrated second act after a 14-year absence, just in time for a vaunted emo revival. Nate joined American Football for that return, LP2, and 2019’s LP3, buttressing their tender songs and skywriting guitars with his strong but subtle bass. Perhaps even to their surprise, The Kinsellas became newly synonymous with American Football.

But as the pair prepared to start writing new American Football tunes, perhaps noodling with guitars in the same room, Nate revealed a series of short synthesizer loops, potential prompts for a different sort of pop song. “I want to be in that band,” Mike remembers telling him. And so, now they are: LIES, the new Kinsella cousin duo, represents the first time they have written together without anyone else. What’s more, their gripping self-titled debut, Lies, rewrites the way Nate and Mike are expected to sound, breaking free of what could have come to define them.

These are explosive but intricate pop songs, their striking hooks nested in glorious composites of keyboard melodies and digital textures, powerhouse rhythms and sweeping strings. Above propulsive drums and kaleidoscopic sequencers that will excite the Depeche Mode faithful, Mike croons of modern disaffection during “Camera Chimera.” A brooding but beautiful survey of betrayal, “Rouge Vermouth” suggests Tears for Fears on a morphine drip, keyboards refracted like sunlight split by raindrops. The bass propulsion of “No Shame,” the tricky rhythms of “Knife,” the danceable dynamics of “Broken”: These are among the most compulsive and instant songs the Kinsellas have written in long-distinguished careers of memorable tunes.

The last three years forced most people to change how they approached everything, of course, especially work. Mike and Nate found freedom in their own shifts, the sudden flexibility it empowered. LIES began innocently enough, with Nate using the Propellerhead app to create loops for fun and even soundtrack runs. (A note to the copy editors of the planet: The band is LIES, and the album is Lies. Sorry!) When he’d made 40 or so, he wondered if there was more there. Song sketches started to take shape, and he named each bit for the artist it seemed to invoke: Robyn, Majical Cloudz, Peter Gabriel, and so on.

He and Mike grew excited and started rendezvousing every few days on Zoom to spitball ideas and share what they’d done. In Brooklyn, Nate would obsess over the arrangements; in Chicago, Mike would write about the obsessive aspects of love and what happens when it breaks. They felt open and enthusiastic, instantly unbridled from the compromises of writing with a full band that people already adored.

The pair finally knew they had enough to make it official, so they met at Mike Mogis’ ARC Studios in Omaha, a space that was welcoming and familiar from American Football’s two recent albums. For the first session, they had six songs carefully mapped, so they cut them fast and headed home. For their second trip to Omaha, they decided to trust the intense musical bond they’d developed during the prior two decades, a bond that seemed innate since their shared days in Joan of Arc, anyway. They left things open to chance, writing in the studio like a veteran act. The results floored them. Nate tinkered with the tracks back in Brooklyn, working with acclaimed mixing engineer Sonny DiPerri to sculpt those two Omaha visits into this glorious hour-long escapade.

Lies charts the sometimes-difficult terrain of what it is to navigate a relationship, to power past feelings of deceit and doubt and move forward, toward an amorphous hope. Mike has written very explicitly about fractious divorce in the past, but, here, he funneled his experiences through the lenses of the songwriters these sounds invoked—Dave Gahan, Robert Smith, and Robyn among them. He’s not so much as playacting as using surprising points of inspiration to step outside of expectations and gain a new perspective, the animating premise of LIES. From the apologetically lustful “Corbeau” and the unapologetically sensuous “Blemishes” to the abyssal lowering of “Summer Somewhere,” Lies is a remarkably cohesive and complete portrait of what it means to feel your way through a world built on relationships. These songs are so mighty that you feel like you’re right there for the rides between drama and possible redemption.

Mike and Nate struggled to come up with a name for this project. How do you label something that was just a light way to spend time together during a dark era? And how do you label something knowing people will inevitably compare it to the thing they already know? (By the way, American Football isn’t going away again; this is simply a second band for two cousins and friends who have always had several things going on at once.) They liked LIES because it was straightforward and cutting, even daring. But there’s a wonderful if unintentional irony to LIES, too, because this is actually the truth of two people following shared muses, of indulging sounds they love simply because, well, they love them.

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released March 31, 2023

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