popwreckoning

Throughout White Lies’ 2009 debut album To Lose My Life… was a palpable sadness that resonated with those who enjoy that brand of gothic grandeur. These are the same kind of folks that connect with bands like Echo and the Bunnymen and the Smiths. For so long, I have fought against the following argument friends: “Smiths songs make you want to slit your wrists.” Not so, if you can relate with the bleaker side of life and sympathize with such sentiment. But most people don’t identify with such a non-escapist and sometimes academic view of the world and would prefer a more commercial, fun record (In other words, the kind that buy Maroon 5, Rihanna, and Katy Perry albums and think Lady Gaga is, like, the coolest person ever).

The best parts of the London band’s debut album were the most danceable (“Death,” for example), which probably sounds completely counterintuitive and not what most people envision at all of the gothy, post-punk genre. If you ever get the chance to watch the hordes of regulars at the Mousetrap Britpop night here in Washington, you’ll understand. Morrissey famously once sang in the Smiths song “Unlovable,” “I wear black on the outside / ‘cos black is how I feel on the inside,” and in our black clothes, boots, and eyeliner, this is our dance music.

Ritual, White Lies‘s second album, is comprised of similar building blocks used to make To Lose My Life… The high – and potentially the most crowd-pleasing – points of the album are the less dark, more synthy and more inspiring moments. “Is Love,” the album’s opener, starts in the shadows with Harry McVeigh’s usually unemotional intonations, but the track is lifted up into seemingly happier, almost power pop territory thanks to synths. “The Power and the Glory” is White Lies pop trapped in the ’80s.

“Bigger Than Us,” the first single to be released from the album, is brisk in tempo and has a sweeping chorus that fans of White Lies have come to expect from the band that brought us previous singles “Farewell to the Fairground” and “To Lose My Life.” Best track on the album, hands down. First time I heard it on BBC Radio, I could feel the tears welling up: “and I feel like I’m breaking up, but I wanted to stay / headlights on the hillside, don’t take me this way / I don’t want you to hold me, I want you to pray / this is bigger than us.” Epic. (Actually, thinking more about the lyrics, the song might be a nod to the Smiths‘ “This Charming Man” or “There is a Light That Never Goes Out.”)

The buzzing guitars of “Holy Ghost” are sexy and the tune’s verses sound like a homage to the Police’s “Roxanne.” But the chorus is bizarre: “maybe someday I can move like you / maybe someday I can scream like you / I’m not looking for a holy ghost.” I would love to get inside the brain of the band’s bassist and chief lyricist Charles Cave one day. Also unique is “Peace and Quiet,” with a double-tracked chorus almost approaching gospel (“I feel this great pressure coming down on me / and the tide of my bliss, pulling at your sympathy“), new age synths, and an atmospheric yet chill vibe reminiscent of Broken Bells’ debut last year. Not what I would have expected from White Lies at all.

The punishing rhythm of “Turn the Bells” is hypnotic, but there’s no denying it, it’s dark. “Streetlights” is custom made for the terminally depressed, it’s a desperate cry to the world: “hold tight for heartbreak / buckle up for loneliness / right time to get away / where I’m going, I couldn’t care.” Tough stuff. “Strangers” contains the refrain “there’s nothing stranger than to love someone,” the protagonist anxiously trying to love a woman who is emotionally unavailable and not returning his deepest affections. You might not want to listen to this if you’re going through a rough patch in a relationship.

But these are the inevitable, more sinister, more difficult to swallow moments from Ritual. They represent the most comfortable territory for White Lies: writing songs that express the pain and sorrow of everyday situations. That said, this album is really for people who can see past the initial gray sheen of depression the band uses to paint the surface of their songs; under the surface, there are always profound feelings. There are deep emotions in every track, examined and intellectualized, ready to be taken into the hearts of people who can appreciate those emotions.

Ritual by White Lies will be released in America on January 18 on Geffen Records.

Track Listing:
01. Is Love
02. Strangers
03. Bigger Than Us
04. Peace and Quiet
05. Streetlights
06. Holy Ghost
07. Turn the Bells
08. The Power and the Glory
09. Bad Love
10. Come Down

White Lies: website | myspace | @ Black Cat | @ Lollapalooza Day 1 | White Lies to Tour North America, Support Kings of Leon | Sophomore Album from White Lies Due in January 2011 | White Lies – “Bigger Than Us”

Here at Popwreckoning, we’ve officially hit a level of mail that makes it impossible for us to give full reviews to every band. However, this does not mean we believe that these bands shouldn’t be granted some for of press.  It simply means we have to scale it down a bit. Therefore, we have opted to create a feature called Bite Size Reviews, which shall appear several times a week.  This feature will contain 5 reviews each under 100 words and links to the albums website, MySpace page or label.  We believe this is the best use of our mail and hope you too enjoy the reviews. They are as follows:

Greg Laswell – Covers
In the history of the world, I would have never imagined anyone could pull off a collection of covers featuring songs by the likes of Echo and the Bunnymen, Morphine, Mazzy Star, Kristin Hersh and Kate Bush without fucking up at least one. However, the aptly named Covers, the latest EP from singer/songwriter/twitter comedic genius Greg Laswell, does just that.  Managing to add his signature sound to each number without butchering the significance of 5 bands with very contrasting styles is impressive to say the least.   His ability to handle these individual sounds while tweaking them just enough to make them his helps make Covers an album and make Laswell an artist instead of that guy singing Jimmy Buffet at for beer money at your local bar.  (8 out of 10 stars)

website | myspace | @ beaumont club | Three Flights from Alto Nido review | @ world cafe live | @ sxsw 2009 | @ martyrs

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Tiësto – Kaleidoscope
So, I need to start off by confessing to fans of Tiësto that I may not be the best person available to give a fair review of this CD.  This is because I really could live a perfectly happy life without house music.  Remixes and samples seldom give me goosebumps.  Generally, I wish the originals has been left the hell alone. However, I’m going to do my best to stay positive regarding Kaleidoscope and simply say that I was rather impressed by the selections of artists Tiësto tapped to sample. When I think of house music, I seldom expect the likes of Priscilla Ahn, Cary Brothers and Tegan and Sara to touch my ears.  This alone should warrant this CD a single listen. I’ll let you choose if you want to keep spinning it after that.  (5 out of 10 stars)

website | myspace

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Asobi Seksu – Transparence
If Asobi Seksu can somehow fail to make you feel alive you might want to run down the street to your neighborhood family physician and place your order for a bottle of uppers.  There are few bands in the business with more charm and addictive tendency than this one.  Their new EP Transparence is par for the course. Sporting three songs and a remix this vinyl only release is the perfect follow up to the groups February 2009 full length Hush.  The only drawback I can find is that i personally have trouble moving past side A, which features a pair of brilliant songs in the title track “Transparance” and “Urusai Tori”. Rather than move on to a fairly reasonalbe side B, I often find myself simly starting the disc again. (9 out of 10 Stars)

myspace

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Imogen Heap – Ellipse
Anyone who knows me, or has been stumbled across my Facebook page in the past 3 months, has no doubt I am a fan of Imogen Heap. I’ve hyped her new album Eclipse the way the United States hyped Obama as the answer for change.  Her last album Speak For Yourself was just short of perfection and her work with Frou Frou doesn’t look bad on her resume either.  However, Ellipse to me feels a bit like a step backward for Imogen.  Her songs lack the catch that sucked you in on her previous records.  There are no golden tracks like “Let Go,” “Hide and Seek” or “Goodnight and Go” mixed in with the filler of her new work, noticeably leaving little reason for me to drop a twenty on the counter.  To date, I would have to call this album the biggest bust of 2009. It is a real let down. (5 out of 10 Stars)

website | myspace