Review: White Lies - Night Light

‘Night Light’ stays true to the band’s template while revealing subtle, polished progression that leans into ‘70s synth textures.

White Lies’ bleak yet infectious 80s synth-pop style definitely stood them out among their late ‘00s indie rock peers. The West London trio’s cinematic gloss and euphoric energy was nostalgic and fresh at the same time, and soon enough 2009 debut To Lose My Life… went straight in at number one on the UK albums chart.

Now seven albums in, White Lies continue to evolve and remain relevant. Latest album Night Light stays true to the band’s template sound while revealing subtle, polished progression that leans into 70s synth textures.

Recorded at Church Studios in London with producer Riley McIntyre and mixed by Chris Coady, Night Light is typically hooky and packed with big choruses. Better yet, it’s their most diverse and cohesive record to date.  

‘Nothing On Me’ offers quite the high energy opener, matching ominous synths with propulsive basslines and punchy hysteria. The temperature then cools on smooth second track ‘All The Best’ with big guitar licks and saxophone solos reaching into welcomed glam rock territory.

As always, the band’s main weapon is Harry McVeigh. And the baritone-voiced frontman reaches sensitive new depths on piano ballad ‘Everything Is Ok’. The song’s simplistic arrangement and delicate keys work mark the mid-point track as a standout – who knew White Lies had this side to them?!

Not everything lands, however. ‘I Just Wanna Win One Time’ is bogged down by an overly repetitive chorus that brings on an eye roll. Similarly, ‘Juice’ lacks inspiration, the cheerier tone and soaring chorus misses’ mood or genuine emotion.

Do the boys redeem themselves by the end? Of course. Album closer ‘In The Middle’ is a six-minute epic to get lost in. Its build-up of shimmering synths up and delicate guitar tones climaxes in a meandering second half soundscape: spine-tingling and infectious to the bitter end.

McVeigh recently reflected on his bands career that “we finally know what we’re doing”. And there’s a lot to admire in these confident and accomplished sounds. Admittedly, the record suffers by being less raw and more reined in than earlier work. Yes, the quality is more consistent, but the ceiling is not quite as high.

So, while the record doesn’t strike the same immediate blow, Night Light still finds White Lies more assured, mature and accomplished than ever before.

3.5/5