The Independent's journalism is supported by our readers. When you purchase through links on our site, we may earn commission. 

Album: White Lies, To Lose My Life, (Fiction)

The Glastonbury headliners of 2011 (probably)

Reviewed
Sunday 11 January 2009 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Everything about this North Ealing trio is built for size. 'To Lose My Life' kicks off in widescreen Arcade Fire-meets-Coldplay mode, and doesn't let up.

Like Editors and the Killers, White Lies are blatantly Eighties-influenced (the long-coated, mulleted epic stuff). Typically, the bassline patiently pounds the root note, patiently waiting for the big heroic guitar chord to come in, followed by the reverb-drenched stadium-friendly riff, and finally Harry McVeigh arrives, his handsome baritone swelling to a Julian Cope blare.

Seemingly suffering the delusion that he's a windswept romantic poet, McVeigh's lyrics tend towards trite and banal Simple Minds-isms ("I wonder what keeps us high up/Could there be love beneath these wings?").

In fairness, the subject matter is often dark: suicide and self harm, hospitals and funerals. And the music has its moments (notably the crystalline keyboards on the chorus of "Fifty on Our Foreheads").

Summer after next, they'll be festival headliners. Love it or hate it, this lot are going all the way.

Pick of the album: The debut single: 'Unfinished Business'

Click here to purchase this album

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in