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Met dank aan de originele posters indien het niet door mij geript is...
Thanks to the original posters if not ripped by myself...

01 - White Lies - Night Light - Nothing On Me.flac 
02 - White Lies - Night Light - All The Best.flac 
03 - White Lies - Night Light - Keep Up.flac 
04 - White Lies - Night Light - Juice.flac 
05 - White Lies - Night Light - Everything Is OK.flac 
06 - White Lies - Night Light - Going Nowhere.flac 
07 - White Lies - Night Light - Night Light.flac 
08 - White Lies - Night Light - I Just Wanna Win One Time.flac 
09 - White Lies - Night Light - In The Middle.flac 
991 - auCDtect.log 
991 - Lossless Audio Checker.log 
992 - AccurateRipNot.log 
999 - cover.jpg 
999 - Discogs Downloaded Cover 01.jpg 
999 - Discogs Downloaded Cover 02.jpg 
999 - Discogs Downloaded Cover 03.jpg 
999 - Discogs Downloaded Cover 04.jpg 
White Lies - All The Best.txt 
White Lies - Everything Is Ok.txt 
White Lies - Going Nowhere.txt 
White Lies - I Just Wanna Win One Time.txt 
White Lies - In The Middle.txt 
White Lies - Juice.txt 
White Lies - Keep Up.txt 
White Lies - Night Light.txt 
White Lies - Nothing On Me.lrc 
Oor Review ---------------------
Reinier van der Zouw 12 november 2025 album Rock White Lies Night Light PIAS
Een tragedie in drie aktes: drie koppen van liverecensies over White Lies in de OOR-archieven.
‘Wereldband in wording?’ klonk het nog na de show die de toen kersverse postpunkband voorjaar 2009 in de Melkweg gaf.
Na het moeilijke tweede album Rituals (2011) was het oordeel over een show in de toenmalige Heineken Music Hall: ‘White Lies moet snel weer de studio in.’ 
Vier jaar later in Paradiso: ‘White Lies preekt voor eigen parochie.’

Oef, het drietal rond frontman Harry McVeigh bleek dus geen wereldband in wording.
Na 2016 stopten onze concertverslagen, maar bleven de albums komen.
Dus zijn we nu aanbeland bij nummer zeven, Night Light.
De snedige recensie-oneliners over uitgaan als een nachtkaars schrijven welhaast zichzelf, maar waren meer toepasselijk geweest op vorige platen, 
want relatief gezien is dit de meest energieke White Lies-plaat in enige tijd.

De band flirt wat minder met (synth)pop en probeert grotendeels weer opwindende rockmuziek te maken.
Met de nadruk op ‘probeert’, want het is allemaal pijnlijk generiek.
I Just Wanna Win heeft een degelijke gitaarriff, maar niks aan dit nummer heeft ook maar iets van een eigen stempel.
Dit is rockmuziek die uitermate geschikt is om in pashokjes van goedkope kledingwinkels te draaien; niemand zal zich eraan storen.
Ons bijgestelde advies, veertien jaar later: White Lies hoeft voorlopig de studio niet meer in.

Exystence Review ---------------
White Lies – Night Light (2025)
Filed Under: indie-pop, rock by exy — Leave a comment
November 6, 2025

Seven albums in, White Lies continue to evolve while keeping their signature mix of shadowy synth-pop and widescreen emotion intact.
Night Light finds the London trio leaning deeper into electronic textures than ever before, with the guitars now playing a supporting role to shimmering synths, pulsing basslines, 
and Harry McVeigh’s commanding baritone. It’s a sleek, modern evolution that keeps the band’s DNA intact while exploring new sonic territory.
The album bursts to life with ‘Nothing On Me’, a quickfire opener that clocks in at just 2:44.
It’s an immediate standout – punchy, melodic, and utterly addictive.
Before you know it, the song ends, just as it seems to hit its stride.
It’s over too soon, leaving you wanting more, but perhaps that’s the point.
As an opening statement, it’s a sharp and confident way to kick things off.

‘All the Best’ and ‘Keep Up’ both take it down a notch while continuing to build the album’s pulse, layering gleaming synth hooks over tight, propulsive rhythms.
The focus throughout Night Light is firmly on texture and mood, creating a cohesive soundscape that’s both darkly cinematic and emotionally resonant.

Track four, Juice, is classic White Lies—big, anthemic, and designed to fill venues.
With its soaring chorus and throbbing synths, it’s easy to imagine it becoming a crowd favourite at gigs for years to come.
It captures everything fans love about the band: the energy, the melancholy, and the irresistible sense of release.

Then comes Everything Is OK, perhaps the most beautifully haunting song the band has ever written.
Stripped back and piano-driven, it showcases McVeigh’s voice at its most vulnerable.
The simplicity of the arrangement allows the emotion to shine through, making it a genuine high point of the album.

Later, Going Nowhere carries the torch with a steady rhythm and wistful tone, leading into the album’s title track, Night Light, a slow builder that encapsulates the record’s atmosphere perfectly.
Initially restrained, it drifts through glacial synth layers and subdued percussion, gradually swelling with emotion.
The listener’s patience is rewarded just after the three-minute mark, when the song truly kicks in and lifts off into something euphoric.
— xsnoize.com