To Lose My Life

Just a month into 2009 it is easier than one may expect to predict which breakthrough acts are going to dominate the popular music scene. Numerous magazines have run features on the most exciting prospects among this year’s mass of new releases but none are as accurate or perceptive as the BBC’s. Last year contained a list featuring the likes of Adele, Duffy, Glasvegas and the Ting Tings. Not a bad prediction when you consider the success each act has achieved. The recently compiled ‘Sound of 2009’ has resulted in a swell of interest in the Top 10, in which White Lies were placed at number 2. Cue mass intrigue and exposure.

The album begins with the ferocious ‘Death’. This track is an enigmatic mix of 80’s pop synths. It flirts with a style not dissimilar to the Cure, before growing into a colossal finale and sets the uncompromisingly dark tone for the rest of the album. Not darkness as in genuinely depressing or men wearing spandex but a delightful goth pop approach. Lead single ‘To lose my life’ follows and sets a high standard. Other standout tracks include the stunning ‘From the stars’ and the epic ‘E.S.T’. ‘From the stars’ is simply magnificent. Featuring an incredible orchestral foundation, poignant drumming and impressive vocals it encompasses all the best elements of the White Lies sound. ‘E.S.T.’ varies between ominous synths with disjointed beats to an anthemic, rock laden chorus.

The album doesn’t quite match the heights some may have expected: it lacks the quality Glasvegas and others reached last year. The album taken as a complete entity is rather repetitive and monotonous, maintaining the same dry, dark style throughout. To push it up that extra notch it desperately needs some kind of variation of pace, texture and song arrangement. It lacks that epic finale or mid-album break you come to expect from a truly outstanding album. However, this critique is more down to the unreachable expectations placed on the band’s shoulders, irrespective of which the album has only minor faults. One of the biggest problems is removing this preconceived hype and anticipation White Lies are burdened with.

Reviewing White Lies has proved to be one of the most difficult tasks I’ve been given since writing for the Boar. Upon first listen I had a picture in my head of writing a feisty review slating the lack of originality of a band encompassing a sound I felt was outrageously similar to so many of their genre counterparts (notably The Editors and Interpol). Then I realised I’d listened to the album around 10 times in just 3 days. I, like many other music journalists in the mainstream media, got caught up in an examination of status and comparison without considering the most important factor – did I enjoy the album?

Honestly, I love it. Yes it stinks of imitation, but it’s a fantastic album; well written, musically exquisite and infuriatingly catchy. Instead of highlighting its lack of originality it deserves to be appreciated for matching the high musical standards set by 80’s innovators Joy Division and the Cure. Drummer Jack Lawrence-Brown recently spoke of his apprehension about the degree of coverage the band has already received, hoping to refrain from being pigeon-holed too early in their career and fearful of people judging the album on reviews before its release. Undoubtedly reviews are going to be divisive, some declaring White Lies are the biggest thing since Jesus Christ and the Power Rangers, others will undoubtedly slate their lack of innovation and lyrical style – a predictable backlash to the mainstream hype. I suggest you listen to the album and form your own opinion.