Review:

on 2012-04-10 CharlesMartel Said:

There is a lot I could say about this album, a hell of a lot. From what I could say you may get the impression that I hate this album. That impression would be false, but understandable. In fact I loathe it. Probably the most flawed release of the year and ranking alongside so many other UK mainstream indie bands. And yet there are several catchy numbers on it and the music is competent and well-delivered. So what exactly is wrong with it. Well, let me explain.

A lot of noise has been made about how this album, indeed the White Lies as a whole, are the new Interpol, the new Editors, the new Joy Division. Well that maybe some over-clever marketing guys idea of a good sales pitch but is actually unfair to all four bands. The sound is too lush to bear any connection to Joy Division and the comparison could only come from someone who thinks that a vocalist singing constantly about death is a good copy of Ian Curtis. More about the lyrics later, but clearly this is not the case. As for Editors and Interpol, well the latter faded badly after "Turn on the Bright Lights" in terms of critical acclaim (though I actually preferred "Antics"). And Editors never really got off the ground did they: no one bought the record company hype and informed music critics (that is, not the wet-behind-the-ears dickheads who work for the NME) never really bought the persona.

As for the White Lies themselves, there is nothing more to them than misplaced comparisons. They may have changed their name more frequently than a college student changes his underwear, but their sound is firmly rooted in the belief that if you identify what makes a good pop record, and then combine all those elements in one band, then you have the formula for success. Full use is made of synthesisers and even a string section (possibly an electronically generated one I will admit) gets a look in. These provide the necessary atmosphere in front of which full use is made of the guitar-bass-drums combo. And above it all is the deep voice of lead vocalist Harry McVeigh to give the whole album a feel of presence. Yep, the White Lies (formerly Fear of Flying) have been put together to provide that perfect combination.

To get to the true feel of this album, I suggest you listen to it twice. The first time, don't listen too hard. You'll find the album to be quite agreeable. Then listen to it again. And really listen this time. What you first thought were strengths and positive points turn out to be nothing like you first imagined. The atmospherics are forced, the miserableness is a mask worn for the occasion like a clown at a funeral. There is something incredibly false about the whole thing and the more you listen the more it begins to grate on you. Why?

The reason, I have to say, lies in the way the White Lies have come about. in 2008, the west London trio were being lauded under the name of Fear of Flying. Now they hit the scene, and get a number one album, as the White Lies. Suspicious? You should be. Bands change their name like this because they are not getting any attention with their old name. After all, no one paid any attention to Johnny and the Self-Abusers until they changed their name to Simple Minds. More often, it is the record company who makes the change. And hearing the album makes me think that is the true source of the name change, despite the bands denial.

Why should I think that? Listen to the album. Listen carefully. Tell me, how many notes are out of place; how many beats are skipped; how many vowels are rolled or consonants stopped in the glottis; how many synthesiser drones go on that little bit too long? None, not once. If you read the Guardian, you may agree with them that the album is immaculately polished. I call it over-produced. The record company has done their best to smother the zing out of the album. Can't have a flawed product hitting the shelves, can we?

But there is more. Oh, God is there more. Sometimes I listen to the lyrics and I cringe. There's nothing wrong with being miserable - some of the best songs ever have been miserable. But dressing entirely in black and making sure the words death or die appear in every single track is taking it too far. The lyrics are, without doubt, the weakest aspect of the whole album. They never rise above the mediocre and at times the banal cliches and strained imagery makes Editors seem deep and meaningful. At times, the lyrics are so bad it ceases even to be funny. One piece of dreadful imagery in particular stood out 

"fell like a stone from my heart"

Just who came up with that? Hearts dont have stones for fucks sake, kidneys do! And even kidney stones don't simply fall, they have to be surgically removed. I will admit "surgically removed like a stone from my kidney" might not have the same effect, but if the image your lyric creates is so forced it is comical then change the image.

I could go on, but I grow tired of listening to song after song of over-produced, flat, banal drivel. Its flaws are manifest and the source is clear. Some A&R man has got hold of this lot and pump-primed them to the mainstream. Just look  all black and sombre; all this talk of death; and lyrics which are so bad they could have been penned by some fourteen year old Linkin' Park fan in his bedroom. It is claimed that when the band signed to faux-indie label Fiction, Jim Chancellor, the label's MD stated he was "over the fucking moon".

Photofit dark indie band, step forward!

Clothes? Check!

Prozac? Check!

Production? Smooooooooth, check!

Now get out there and make us some cash!
Rating: 1/10