In the wake of becoming Angus Andrew 's solo project, Liars only grew more prolific, issuing several releases in little over a year: The project's eighth album, TFCF , the soundtrack 1/1 , and Titles with the Word Fountain all arrived within months of each other. Recorded during the sessions, Titles serves as a sequel to that album and holds up a broken mirror to its sounds and emotions. Its snippets of field recordings and electronic experiments communicate the losses Andrew experienced at the time -- the dissolution of his creative partnership with former member Aaron Hemphill , the death of his father -- in more abstract ways. "Pure Context" distills 's disorienting atmosphere; "P/AM" is equally vast and claustrophobic; "Fantail Creeps"' combination of screeching creatures and silent movie organ is at once droll and dread-inspiring; and the seesawing arpeggiated synth on "Extracts from the Seated Sequence" is almost cartoonishly ominous. The way these miniatures combine to create an overarching mood recalls -- ironically, the last music recorded with Hemphill -- as much as it does . 's more fleshed-out tracks are among its standouts. The jagged "Face in Ski Mask Bodies to the Wind" sounds like classic ; meanwhile, the brash yet wounded "Murdrum" echoes the drifting, abandoned feel that made so surprisingly moving. ends on an oddly serene note with "A Kind of Stopwatch," which gives a sense of closure to the era. Even though it's clear why these tracks didn't quite fit on that album, continues its mood skillfully and should appeal to fans of ' most experimental music. ~ Heather Phares