LIARS share new track and video for 'Beat Creep Some Eyes', the latest to be taken from forthcoming album, A Ban On Plastic Bag Bans

LIARS  SHARE A NEW TRACK & VIDEO FOR ‘BEAT CREEP SOME EYES’   THE LATEST TO BE TAKEN FROM FORTHCOMING ALBUM,  A BAN ON PLASTIC BAG BANS OUT 5 MARCH 2027

[Liars, credit Clemens Habicht] LIARS share the video for new track, ‘Beat Creep Some Eyes’, the latest taste of what to expect from their 11th studio album, A Ban On Plastic Bag Bans, set for release on 5 March 2027. Using images taken by Angus Andrew on an obsolete 3D camera in and around Kalamazoo, Michigan - the city which inspired the album - visual collaborator Clemens Habicht’s video mirrors the sense of reality being probed and warped across this luminous, head-spinning track.

Watch the video for ‘Beat Creep Some Eyes’

Talking about ‘Beat Creep Some Eyes’, Angus explains, “Sometimes I think the strangest thing isn't that the world is absurd, but how quickly we get used to it. You can find yourself living inside something completely ridiculous and, after a while, it just becomes Tuesday. Then you start to wonder if you're seeing things clearly at all. You know what you're looking at, but you're no longer sure you're seeing it correctly. I think the music lives somewhere in that space."   Liars’ staggering new album A Ban On Plastic Bag Bans harnesses Angus’s incomparable gift for sonic world-building to confront the bureaucratic absurdity and corporate power he encountered while living in middle America.   Shortly after relocating to Kalamazoo, Michigan, with his wife and daughter, Angus Andrew smelled something. A thick odour surrounded their home and his daughter’s school: toxic hydrogen sulphide, among other pollutants, released by a local packaging factory at levels deemed so dangerous that the state health department advised residents to “stay indoors”. Angus soon found himself drawn into an uphill campaign to hold the factory accountable, confronting a tangle of environmental damage, corporate responsibility and institutional inertia. He absorbed the frustrations and absurdities of the experience into Liars’ music, transforming the realities of everyday life into something stranger and more unsettling.   “You become so used to something, you lose your sense of it.”   That idea sits at the centre of A Ban On Plastic Bag Bans: how injustice can become part of the background of everyday life, and how exhausting it can be to fight forces that seem too powerful to move. The title is based on an actual Michigan law that prohibits local governments from banning single-use plastic bags. Its absurd bureaucratic logic became a kind of shorthand for Angus's experience of Michigan, where attempts to reduce environmental harm could themselves become something to prohibit.

Watch the video for ‘Ice Pick, Kalamazoo’

Formed in New York in 2000, Liars have always been a shapeshifting, alien presence at the edges of contemporary music. From the shifty dance-punk of 2001’s They Threw Us All In A Trench And Stuck A Monument On Top to a string of radically inventive albums - including 2006’s Drums Not Dead, 2017’s TFCFand 2021’s The Apple Drop - Liars have never stood still. The Apple Drop was released as lockdowns made touring impossible and, for the first time since he was a teenager, Angus stopped thinking about making another record. Instead, he threw himself into other projects: founding the record label No Gold and experimental music platform Essential Tremors. “Both of those things were really about listening,” he says, “stepping back from being a full-time creator and connecting with these other artists”. Through both projects, he also began “listening and responding to the environment in Kalamazoo.”   After the longest period of his career without making music, Angus eventually realised something strange had happened: he had been making an album the whole time. He just hadn’t created any sound yet. He was not interested in making a traditional political album, or in turning the record into a soapbox for a particular cause. Instead, he became interested in the absurdity of the bureaucracy surrounding these struggles, and in the imbalance of power that allows corporations to exert influence across so many levels of everyday life. “It’s got more to do with the perception of things than modern pollution – how these things that can be a constant in your life become sort of ingrained and invisible.”   The album was written and recorded between the States and Australia, where Angus now resides. Reuniting with avant-garde jazz drummer Laurence Pike and multi-instrumentalist Cameron Deyell - both collaborators on The Apple Drop and touring partners since TFCF - the three musicians brought an intuitive working language to the sessions. Rather than arriving with finished songs, they relied on trust, improvisation and reaction - allowing ideas to evolve across continents without losing their centre of gravity.    A Ban On Plastic Bag Bans ultimately becomes a different kind of political album – not only concerned with protest, but also with what it costs a person to keep on fighting. “It wasn't just the environment that was polluted,” Angus says. “It was also my mind.” Liars recently played a series of sold out shows across Europe, and premiered the 20th anniversary performance of Drum’s Not Dead at Unsound Festival. They will play four Drum’s Not Dead shows at Phoenix Central Park, Sydney on 26 & 27 November, before returning to the UK / Europe in 2027 in the spring. A date has been announced for London’s Village Underground on 15 May, with more details to follow.   A Ban On Plastic Bag Bans will be released on recycled eco-green vinyl, CD and digitally via Mute on 5 March  Pre-order A Ban On Plastic Bag Bans A BAN ON PLASTIC BAG BANS TRACKLISTING (CAT # STUMM530)  Happy Or Not  Ice Pick, Kalamazoo  Laced Plume  Urgent As Always  Deep Deeper  Disaster Tropes Beat Creep Some Eyes  Real Time Trespasser  SHAME!  Retention Arc  Out Of Order LIARS LIVE 26 Nov – Sydney, Phoenix Central Park – Drum’s Not Dead (2 shows) 27 Nov – Sydney, Phoenix Central Park – Drum’s Not Dead (2 shows) 15 May 2027 – London, Village Underground

The Durutti Column's "Your Shadow At Morning" Reimagined by Four Tet

FOUR TET REIMAGINES THE DURUTTI COLUMN’S  “YOUR SHADOW AT MORNING” – OUT NOW [LONDON RECORDS]   FOR VINI: THE MUSIC – SPECIAL MANCHESTER CONCERT SET FOR NOVEMBER 19 AT ALBERT HALL - TICKETS ON SALE NOW   RENASCENT, THE NEW ALBUM FROM THE DURUTTI COLUMN   – OUT NOW

LISTEN | WATCH “YOUR SHADOW AT MORNING (FOUR TET REWORK)”     “The long-awaited return of DIY composer and experimental songwriter Vini Reilly.” – Pitchfork   “Lead single ‘Liars’ is a gasping, regretful meditation that brings back the classic Durutti Column sound, but with the hard-won perspective that comes with age.” - Stereogum   “Renascent combines luminescent indie pastoralism with ghostly flamenco shadows and vocal samples that summon dancefloor ghosts of the Hacienda, but also push forward into new realms"  MOJO ★★★★ “Your Shadow at Morning” from The Durutti Column’s latest album Renascent has received a beautifully understated rework by Kieran Hebden of Four Tet. Hebden builds upon the song’s stately, wistful mood, inviting in crisp electronic flourishes and hazy synth textures to sit alongside Vini Reilly’s signature guitar washes.   Listen to the Four Tet Rework of “Your Shadow at Morning” HERE. Watch the visualizer HERE   "It’s only in the last couple of years that I learnt about the Durutti Column and explored their wonderful catalogue,” explains Hebden. “It’s had a big impact on me so I was thrilled when a new album was announced and then when I was asked to do a remix it felt like the universe was confirming I was connected to this music.”   Hebden’s new version floats somewhere between ambient electronica, modern classical and minimal IDM, a nine-minute meditation that enhances the reflective grace of the original while opening it up further to contemporary electronic audiences.   Renascent has marked a remarkable new chapter for The Durutti Column, the Manchester trio comprising cornerstone guitarist and vocalist Vini Reilly, drummer and manager Bruce Mitchell and producer and multi-instrumentalist Keir Stewart. Their first new studio album in more than 16 years has been hailed as a late-career triumph, reaffirming the band’s singular place in British music.   The album has received widespread critical acclaim, with glowing reviews and coverage from the likes of Pitchfork, FLOOD and PASTE here in the U.S., as well as The Guardian, The Observer, The Sunday Times, The Quietus, Classic Pop, MOJO and Uncut at home in the UK, France’s Le Monde, Télérama, Libération, Les Inrocks, Spain’s El País,  Australia’s Sydney Morning Herald, The Age and many more. Renascent, the album’s title (meaning to be reborn or to spring up afresh), captures not only Reilly’s personal and creative journey, but also a wider rediscovery of The Durutti Column’s music. The band’s influence continues to resonate with new audiences, with renewed attention placing their distinctive catalogue in a contemporary cultural context, with a legion of new fans including Blood Orange, Harry Styles, Caroline Polachek, The Avalanches, Yung Lean and Mark William Lewis. Originally emerging from Manchester’s post-punk scene and closely associated with the pioneering Factory Records, across six decades The Durutti Column developed a sound that resisted convention, bringing together classical guitar, ambient minimalism, jazz, electronic experimentation and fragile romanticism. Renascent demonstrates that this restless spirit remains intact, with Reillycontinuing to explore new musical territory rather than simply revisiting the past. In June this year Harry Styles invited The Durutti Column to join him at his iteration of Southbank’s Meltdown Festival. While Vini’s ongoing health conditions meant he was unable to join, musical director Keir Stewart and drummer Bruce Mitchell assembled a unique group of musicians to celebrate the band’s extraordinary catalogue. This November, The Durutti Column's music returns home to Manchester for a special one-night-only performance at Albert Hall on Thursday November 19. Entitled For Vini: The Music, Stewart (guitar, bass, samples and keyboards) and Mitchell (drums and percussion) will once again be joined by a cast of close collaborators including Caoilfhionn Rose (vocals, piano), Liz Rossi (violin) and Sam Morris (French horn, piano). Tickets are available HERE. Together, the ensemble will reinterpret key works spanning The Durutti Column's remarkable six-decade career, from the pioneering Factory Records years through to material from Renascent, creating a rare and immersive live experience that honors one of Manchester's most singular musical voices. Renascent is available now on all formats via London Records. FOR VINI: THE MUSIC Albert Hall, 27 Peter St, Manchester, M2 5QR Thursday November 19, 2026 Tickets Available Here