It’s not every day I stumble onto a band only to realize their career already spans a decade. White Lies is reminiscent of Interpol, Bloc Party, and even Keane to some degree and the fact they were active during much of the same era should come as no surprise. But, to those such as myself who are late to the party, their latest LP as good a starting place as any. Most bands tends to lose their audience as people age out and tastes change, but there’s something about White Lies that maintains a sense of maturity and timelessness.
Take the singles, for instance. “I Don’t Want To Go To Mars” is simultaneously an Elon Musk diss track, commentary on the inhumanity of trying to build utopia, and a reckoning with mortality. It describes a perhaps-not-so-distant future where the earth faces imminent destruction and the protagonist considers the oversold nature of the Mars colony, instead opting to stay on earth and enjoy his final moments. Add in a base of driving alt-rock and a huge chorus and it’s great execution of a powerful lyrical concept.
The title track opts for more of a Pet Shop Boys sound, paired with a music video that would surely make a certain Skywalker furious. I’ve found myself getting up in the morning with the uncanny chorus stuck in my head: “Why every morning, waking up, must I try not to fall, must I try not to fall apart?” It showcases the more subtle, electronic side of White Lies’ sound. Rest assured, there’s some degree of synth presence throughout the whole album – but there’s a balance between pop and rock that the band juggle well.
Most of the other tracks orient toward one side or another. “Roll December” pairs punchy bass with glistening keys, for a sort of Bowie-flavored rager. “Blue Drift” is a hazier dance number drenched in reverb akin to Depeche Mode. “There Is No Cure For It” calls to mind The National with its driving rock pace and prominent piano. Top it off with a fake-out ending that leads into the track’s most emotive final act and the closing track is definitely a journey.
Unfortunately, the album does feel a bit top-heavy. The singles are easily the highlight tracks of the record and show the most dynamic and energy. The latter half is a bit more conservative in some respects, and while there are some standout moments thrown in, there’s a bit more sonic uniformity . “Roll December” and “There Is No Cure For It” do manage to help salvage things slightly, but there’s nothing quite as powerful as the earlier tracks.
But it’s undeniable just how many different influences White Lies seem to pull from. There’s modern indie, prog rock, 80s, and alternative. It’s not always the most cohesive mix, nor is every track an instant hit. But if this is any indication of the rest of the band’s catalog, it must surely be peppered with all sorts of gems. A party is still a party, even if you show up late.
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