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White Lies
To Lose My Life
Fiction Records
www.fictionrecords.com


All right. I've finally stopped listening to the damn thing long enough to write about it. No, I don't need immediate psychological attention and my wrists are fully intact and without mar, but after listening to the debut release To Lose My Life by White Lies (on Fiction Records, long time home of The Cure - go figure,) I could see why one would want to do a check up on the listeners. Why is that, you ask? While you're dancing around screaming the lyrics to this hot mess you might want to realize the people around you are looking at you oddly not because your singing is horrific, but yes, you're singing about your blood being painted on the floor, dying a lot, and eventually being undead; and in track number 4, "Fifty On Our Foreheads," is a vague translation of the 2007 movie Sunshine in which the sun dies - yet in White Lies' translation; groups of children are sent into space to resuscitate it... Oh, and they die! Sweet! Let's rock! Wait, where are you going?

The British artists are donning their best black, super pouts, and their lyrics are so equally dark I need a flashlight. I love it. The band is steeped in the influences of Joy Division, Echo And The Bunnymen, and they have obviously listened to a ton of (my favorite) Interpol, and yet Harry McVeigh's vocal ability sits cautiously apart from them to maintain its originality. Yes, you can find some similarities in the title track "To Lose My Life" to the lead singer of The Killers, but it's really so faint its only noticeable after the first three listens. Well, now that you've read this you'll probably be listening out for it. But don't let that taint your own experience. (No hate intended to The Killers.)

The first track, "Death", leads in strong with the same feeling (and lyrics) of an airplane take off. "I love the feeling when we lift up/watching the world so small below/I love the dreaming when I think of/the safety in the clouds out my window..." Yes, it goes on to talk about screaming in fear that they'll plunge to their deaths and "fear's got a hold on me," but from the beginning, this melancholy trio has got it. It's dark enough to make the goths and emos squeal (or moan as the case may be) in delight while the rest of the musically literate should be nodding in smug appreciation. I'd even go as far to say that Ian Curtis is somewhere smiling a smidgen. The stage is set for this new band with a lift-off upon which you cannot let yourself miss out. I hope to hear lots more from them in the future.

-Elysabeth Williams

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