in 2000. The second, however, showcased new material. Fins to Make Us More Fish-Like (November 2002) showed progression from their signature sound, but without any material that would seem significantly out of place on their debut. Most noteworthy, perhaps, is "Every Day Is a Child with Teeth", which concentrates more on sound texture and tense, stuttering percussion than the more danceable rhythms for which they had come to be known. Line-up changes Due to differences of creative methods, it was agreed that Noecker and Albertson would leave the band to pursue other work. Both joined the short-lived band No Things. Noecker would later pop up in the band These Are Powers. Meanwhile, Andrew and Hemphill reunited with Gross to form the next incarnation of Liars. The first release from Liars as a three-piece was a split EP with the band Oneida, called Atheists, Reconsider (released December 2002 by the Arena Rock Recording Co.). Liars contributed a cover of Oneida's "Rose and Licorice," as well as two originals. "Dorothy Taps the Foot of the Tinman" is a 7+ minute sound collage of kitchen-sink percussion, ambient drones and static, and copy/paste spoken words. Witch hunting This newfound experimentation paved the way for Liars' next full-length album, They Were Wrong, So We Drowned (recorded in March and May 2003, released February 2004). The band relocated to a cabin in the woods of New Jersey for the recording sessions, and along with producer David Andrew Sitek of TV on the Radio immersed themselves in both non-fiction accounts of witch trials and traditional witch folklore. From these sources, Andrew created a generic fairy tale which is told through contrasting viewpoints in the lyrics. This commitment to the material at the heart of the album—a "story album" (as opposed to "concept album"), according to Andrew—resulted in a thematically rich piece of work that can often feel more atmospheric than musical. The non-traditional instrumentation and song structuring furthers its feel of concept over musicality, along with Sitek's signature harmonies and sound looping. Many critics responded negatively to this aspect of the album, and though it had its fervent supporters, it infamously garnered the lowest possible scores from both Spin and Rolling Stone magazines. Berlin days Creatively unfazed by the critical response to their unexpected experimental leap, the band relocated once again to Berlin where they would eventually record their third full-length, Drum's Not Dead (recorded in 2004,