离开4AD以后的Lisa Germano终于还是无法割舍自己对音乐的热爱，在2003年推出这张Lullaby For Liquid Pig，继续着她以往的迷幻呓语风格，仍旧不变的主题是人们心中最细腻脆弱的部分，关于人与人相处的微妙感受。
Lisa总是特别的敏感，但她的歌总是能打动我，不管什么时间地点，下午或者是深夜，家里抑或是街上，只要有她的声音相伴，总觉得心门敞开着，但又无比孤独。或许是经历上的相似性，听了很多年的音乐了，也认识无数这样的歌手，也只有她的东西是我不太愿意去分享的，她的音乐也是如此自我，像Small Heads那首歌唱的“The world revolves around you,but it revolves around me too,so how could we see the same one?It's a lonely life,what a lonely life,it's a lonely life!”曲调总是美到窒息，在听不懂歌词的情况下（她低沉的声音，总是像梦话一样）也同样感受到她音乐所表达的东西。然而也许正是因为她的东西总带有类似于“自传”的成分，注定她并不是那种每个人听了以后都能找到自己影子的作品，她坦白诚实的歌词完全剖析了她的为人方式，她就像她的歌写的那样，很孤独，但是将自己的热情狂野用音乐的方式展现出来。
她曾在某个采访中讲到这张专辑，她回顾她的音乐生涯，从担任John Mellencamp专辑的小提琴手为自己赢得声誉，90年代初发行第一张专辑On The Way Down From The Moon Palace，从加入4AD公司到合同期满，在好莱坞的Book Soup工作，从帮助Neil Finn，David Bowie等歌手制作专辑到这张专辑的问世，她的音乐主题并没有随着生活经历的改变而改变：她唱的一直是她困惑而有兴趣的内容，即使很多人认为这张专辑是在探讨她本人的嗜酒问题，她说她一开始也以为Lullaby For Liquid Pig是关于酒鬼的，后来发现事实并不是这样，Lullaby For Liquid Pig是一张在深夜里听的专辑（也许因为这些歌曲的创作都是在她每天从Book Soup下班后完成的，或者她本来就属于黑夜的静谧安逸），尽管她本人并不喜欢热闹，却也写出了It's party time这样的歌曲，还有Paper Doll，依然是在讲支离破碎的人际关系这个对于她来说的永恒主题，少了Experts From A Love Circus的自嘲和Slide的华丽柔美，这更像是催眠曲（不是摇篮曲），她觉得生活即使是这样她依然可以用她的方式去反抗，抵触，但这又同时是一种小打小闹式的享受，她还是很快乐的。
还记得头一次听到她的声音是在Underworld的电影原声里，因为本来就是偏爱女歌手，所以基本上买那张CD就是为了她（当然还因为有David Bowie,他们还是好朋友），那张专辑里收录的From A Shell同样来自这张Lullaby For Liquid Pig，我当时就被她的声音吸引了，给人太多平静，Bring Me The Disco King的这个混音版本里，Bowie毫无疑问是主角，但她的钢琴和低吟也太有魅力。她的歌无论什么时候听，给人的感受都像是头次接触时的那样，像很醇厚的美酒，也像怎么也醒不来的梦境。
她在和OP8合作的那张Slush里有首歌叫It's A Rainbow，我猜那才是写酒鬼的，但是听的时候真的感觉看到彩虹一样:Feel the bottle，In my stomache，Alcoholic, Alcoholic，That's a word my friends call it...那种感觉总是想去回味，而不是去遗忘。
Lisa Germano's music has always had an out-of-time quality to it, but never more so than in the current musical climate, where toughness and a jaded attitude dominate almost every style of music. The almost complete lack of hardness — both sonically and lyrically — in Germano's work is both a blessing and a curse, perhaps limiting her audience but making an indelible impression on those she does reach. Her fans won't be disappointed by Lullaby for Liquid Pig, a concise but evocative album that sounds all the sweeter due to her long absence from the music scene. Once again, though, the strangely timeless quality to her music makes the long gap between Slide and this album irrelevant — Lullaby for Liquid Pig is very much of a piece with the rest of her gently brave, individualistic work. While her music has never chased trends, the weightless, shimmering sound that Germano has pursued since Geek the Girl still manages to sound much fresher and more innovative than that of artists who reinvent their sound with every album. Like Geek the Girl, Lullaby for Liquid Pig is something of a concept album, revolving around addictions of all kinds, not just the alcoholism that the album's title obliquely alludes to. It's not so much the addictions themselves that Germano explores as the desires and delusions behind them, which she expresses beautifully on "Dream Glasses Off" and "From a Shell," a pair of songs that melt into each other and repeat the phrases, "someday someone is gonna love you" and "it's the buzz, it's the buzz," as desperate mantras. Whether it's love or alcohol, the album says, it's the same addiction to hoping that someone or something is going to save you from yourself. While Lullaby for Liquid Pig's subject matter is typically dark, on the whole the album is more like the bittersweet meditations on Excerpts From a Love Circus and Slide than the truly tormented-sounding Geek the Girl, although in the topsy-turvy world Germano creates here, the superficially happy-sounding songs carry more danger than the brooding ones. The weirdly loopy "Candy," with its bright and hazy textures, and "It's Party Time," which sounds like bubblegum pop that's been broken and reconfigured and alludes to the Troggs' "Love Is All Around" and Neil Diamond's "Red Red Wine," have a disturbingly woozy quality that sounds like sinking into a blissfully ignorant narcotic cocoon. Conversely, the album closes with a few dark yet oddly hopeful songs like "Into the Night" and "...To Dream" that suggest that some kind of happy ending is still within reach. Imparting its wisdom and melodies in fits and flashes, Lullaby for Liquid Pig is nevertheless one of Lisa Germano's most accessible works yet; with any luck more fans of challenging but beautiful music will catch up with her this time around.
