Tenebrous LIAR discusses recording Hell Never Called and its artistic direction

Transmission 173: Interview with Tenebrous LIAR

Tenebrous LIAR is a British musical project led by photographer Steve Gullick. Known for his raw and intense approach to both music and photography, Gullick has guided Tenebrous LIAR through nearly two decades of releases, forging a sound that moves between harshness and atmospheric depth. Alongside his photography career, which we have previously discussed in an interview, Gullick has developed a style that extends into his music.

Title: Hell Never Called
Artist: Tenebrous LIAR
Release Date: 2025-03-07
Genres: Experimental Music, Noise Rock, Psychedelic Rock
Description: Tenebrous LIAR discusses the creation of Hell Never Called releasing March 7 with limited vinyl featuring original darkroom prints by Steve Gullick.

The band’s latest album, Hell Never Called, is available as a limited edition of 113 numbered vinyl copies—each featuring an original darkroom print by Gullick—and across digital platforms.The record brings together material born from rehearsal room improvisations, home sessions, and meticulously arranged studio recordings. This latest work introduces multi-instrumentalist Aimee Lovric to the lineup, adding new textures to the group’s evolving sound.

What were the records or artists that first made you feel something powerful enough to push you toward writing your own music? Before Tenebrous LIAR, what was your relationship with music? Were you already playing in bands, or did this come from a different path?

Oooh –

I never had the audacity to imagine I’d be any good at making music, it’s something I always fancied… I dabbled when presented with an instrument & used to look longingly at the guitars & synths in the window of the second hand shop as I walked into Coventry city centre, but my youth was all consumed by photography, I put everything into that!

Whilst on photo assignment for Melody Maker in 1992, Jonathan from Mercury Rev invited me to have a mess around with his guitar during a soundcheck in Berlin, I loved the sounds his set up could produce – it planted the seed. It wasn’t until the mid 90’s when I got a cheap electric guitar & 4 track cassette recorder that I started to think about writing songs. I had a mess about with it & realised I didn’t have the time or motivation to write at that point.

That hit around 2003, dunno what happened, but I really went for it & couldn’t stop. Around this time, I started playing & writing with my friend James Johnston from Gallon Drunk, along with Geraldine Swayne, we started making records & playing live under the name of …bender (this all bounces neatly back to Mercury Rev – upon being told I was playing in a band, Jonathan offered us a support tour… happy days!)

You’ve spent decades capturing musicians through photography—did that shape the way you approached making music yourself?

I’m a massive fan of many of the artists I’ve photographed, there can be no doubt that getting to know these people & seeing how they work has coloured the music I make. Most of these folks are very generous & encouraging… Mercury Rev, Bonnie ‘Prince’ Billy & 50 foot Wave gave …bender shows, Bonny has also given tenebrous liar shows, as have Nick Cave & the Bad Seeds, Mark Lanegan, Josh T. Pearson, Oxbow, Cindytalk, Foo Fighters… I could go on.

Was there ever a conflict between being behind the lens and stepping into the role of a performer?

No.

You’ve described Hell Never Called as a mix of rehearsal room improvisations, studio recordings, and home sessions—how did those different settings affect the energy of the songs?

Nothing is more exciting than when an idea is born, that moment captures an energy & focus that sometimes requires no development. I love improvising with the band, you go into a room with no plan & can come out with pure magic…

Other songs were written at home, then altered, arranged & rehearsed with the band, then recorded in one day at Hackney Road Studios in London. ‘It Cut’s Deep’ is a cassette 4 track home recording that was later embellished with the addition of Aimee & Brendan’s parts.

Was there a track on the album that came together effortlessly, and one that was a real struggle to finish?

‘The Waves’ literally floated in from nowhere – one of my favourites of all time. ‘Soulcracker’ was a nightmare… months of rehearsal & ten takes in the studio… got there in the end though!

Did you find yourselves revisiting old influences while making this record, or was it more about breaking into new territory?

Aimee joined us for this record, she’s an inspiration! I have very limited guitar skills – have never ‘learned’, so our sound scope is somewhat restricted & I like that, there’s a lot to explore & extract within a seemingly very small area, Within our narrow vocabulary, there are no rules & I’m not intimidated by a lack of skill… I just bought a £40 viola for fucks sake!

When sequencing the album, was there a specific feeling you wanted to carry through from start to finish?

Just needed to flow right – there’s a lot of different tempos & moods to marry on this album, we’re very happy with how these songs sit together… It was important for me for the different room sounds to sit well together & I think we pulled it off.

You mentioned being obsessed with Stamping Ground—where does that influence show up most in this album?

Does it show up?

I mean, as previously stated, my playing ability is very limited. I just love the Jefferson Airplane & Santana performances, I love that late 60’s early 70’s controlled chaos sound – Velvet Underground are my ultimate perfect band (particularly John Cale era)

The physical release of Hell Never Called is tied to your photography, with each vinyl copy accompanied by a unique darkroom print. Do you see this album as a visual experience as much as a sonic one?

I really appreciate that question – thank you!

The artwork is a vital element, I’m trying to produce art… this music, those landscape photographs & the super 8 films were made for each other.

After Hell Never Called is out, what’s next for Tenebrous LIAR? More touring, more recording, or something entirely different?

Once these launch shows are done, we plan to start recording – maybe the occasional show, if they’re offered, but essentially we like creating as opposed to performing.

Photo courtesy of Tenebrous LIAR

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others