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The feeling remains though that their broad emotional strokes will have to concede something to intimacy and solitude to ever really win hearts.
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It's not quite bad enough to be dubbed an honest failure, but it's flaws are too debilitating for me to recommend blowing a tenner on a copy.
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The results are oddly compelling, if only for the ridiculous way in which their lyrics handle fear, death and despair.
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UncutStill mourning the loss of The Bravery? Look no further. [Feb 2009, p.85]
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MojoWhite Lies naivety is emphatically brokered by their songs ability to rouse and inspire. [Feb 2009, p.109]
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Their debut begins with a rousing arena-rock anthem called 'Death' and then delivers detached variations on the same subject for the next nine tracks with a professionalism that's simultaneously compelling and creepy.
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On their debut, this trio of fashionably dour West London lads crafts wildly overwrought goth-pop weepers with choruses that would make excellent Robert Smith High School yearbook inscriptions.
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While that darkness gives the album its semblance of originality, it may prove incompatible with the group's mass-market ambitions.
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If you liked the new Oasis and U2 records, never bought "Turn on the Bright Lights," and tend to ignore clumsy lyrics, you might enjoy raising your beer to this album just fine.
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Songs like 'Death' and 'Nothing To Give' are strident due to big production and well-placed hooks. But commercially geared goth is so much more hideous than the real thing because it wants to be palatable and accepted.
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White Lies' polished synth rock effuses more melodrama than any young group should be allotted.
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Under The RadarTo Lose My Life is satisfying and consisitent throughout, even if White Lies treads daringly close to one-trick-pony territory. [Spring 2009, p.75]
User score distribution:
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Positive: 39 out of 47
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Mixed: 4 out of 47
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Negative: 4 out of 47
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Apr 30, 2014
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Jan 22, 2011
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May 27, 2022This album is timeless. A blast from start to finish and by far their best album.