Todd Rundgren 29: Liars

Now working slowly but deliberately, Todd Rundgren waited till he had something to say rather than rush things. Released in the midst of a volatile American political atmosphere, Liars is something of a concept album about the “paucity of truth”, in his own words, and one we had to look up.

Most of the album is based around keyboard-generated sounds, from synths to bass parts to drum machines, but it doesn’t sound canned. The tracks blend together, beginning with the slightly jazzy but mostly techno “Truth”, and only slightly slows down on the superior “Sweet”. “Happy Anniversary” humorously explores the age old “men are stupid/women are evil” dichotomy, taking time out for a guitar solo played by Kauai neighbor Ken Emerson, while “Soul Brother” complains about most modern music, from emo to rap. “Stood Up” is a better skewering of supposedly evolved mammals, while those who worship “Mammon” are indicted by a big rock sound and a growling vocal. The space noises in the meandering “Future”, which otherwise laments the non-appearance of flying cars and other unrealized promises.

From there it’s an easy jump to “Past” (as in “living in the”), which is a welcome lost-love tangent. “Wondering” is another basic groove, but a nice derivation from the overall theme, while “Flaw” seems to be something of a takeoff new jack swing ballad, except for the expletive-laden bridge we’d expect from Ben Folds. “Afterlife” in the same mood, but more of a universal theme, and we could swear we hear some AutoTuning. The tempo finally changes for the searching plea of “Living” (as in “a lie”), shifting abruptly for the nature sounds that open the lengthy “God Said”, which continues the conversation begun in “Mammon”. At least he doesn’t take on a strange timber, accent, or other effect for the Almighty’s responses. Finally, “Liar” begins with an Eastern melody and a symphonic flourish to condemn the guilty.

There’s a lot of sameness on Liars, and nothing really stands out. The handful of good ones could have been culled, and shortened, for a really tight album. Yet it’s somewhat amazing, for lack of a better word, that he managed to record another one-man band album that has a lot of the aspects of previous blue-eyed soul outings. His cult audience would certainly appreciate it; the public at large would likely have been turned off by the truly nutty cover photo.

Todd Rundgren Liars (2004)—2½