The Killers – Day and Age

Those who know me are well aware that I love The Killers a great deal, but I intend to herein be as objective as possible. Without any ado, here is my review.

 

 

 

 

     I must say, in beginning, that I don’t think this is a “landmark” album in the vein of “X & Y,” or previously “The Joshua Tree.” However, this is a damn good record. If anything, much of The Killers’ strength comes from their apparent lack of interest in making the “biggest album ever” every album. While certain chart-hogs try to out-epic, out-reinvent themselves every record *cough* (the Chris Martin variety show…) The Killers seem to be finding their groove. Day & Age sounds like a band content with exploring new ideas, staying creative, but refusing to bow to contrived uber-grandeur. While frontman Brandon Flowers has stated, “we’d really like to be the next U2,”  it doesn’t sound like TK are trying to get there overnight, suggesting they just might possess staying power, that long lost art of a band being true to itself and simply keeping their heads down and making good music. Day & Age is a stunning blend of influences while not falling into ripoff territory or poserrific “reinvention” territory, (attn: PATD.) I like to imagine that if David Bowie and Bruce Springsteen had a baby that was adopted by Lou Reed and then became best friends with…well, The Killers, you’d end up with Day & Age, and you’d end up with The Killers sounding like themselves. 
     Whether you’re a returning fan or first-timer, Day & Age will be a surprising and refreshing blend of influences, experimentation, and classic Killer-isms. Now to the tracks.

•  Losing Touch. I admit I found this an interesting kick-off to this record. Neither the brooding introduction of “Jenny Was A Friend Of Mine” from 2004’s Hot Fuss, nor the grand-and-dusty epic-ness of 2006’s lead off to Sam’s Town, Losing Touch very much sets the tone for the record. The opening chimes provide a very serene mood, making the left-field horn section a bit offsetting. The song works well though, moving from a classic-80s verse flow to a solid, catchy chorus and a very modern, very Killers bridge and ending. Overall, great opener.
   
• Human. Much like Somebody Told Me, the lead-off single to Hot Fuss, Human may have given you the wrong idea about Day & Age. Catchy, dancy, electronic, whimsical, light and fluffy. But damn, this song is unbelievable catchy, and manages to carry itself like a classic road tune while giving your legs enough euro-club beats and thrills to shake and shimmy to. And yes, I have shaken and shimmied my little heart out. This is a top pick from the record for me. Call it kitsch, call it pop, but those Killers do it better than anyone.
   
• Spaceman. Listen to this one at obscene volume. Call it what you like, but Spaceman is freaking fun. A wee bit of storytelling a la the above mentioned Bowiesteen baby, but a solid rhythm and very cool stops leading into the last chorus. The song soars and will be awesome live.
   
• Joyride. Here’s where we realize that TK aren’t just doing the same old thing, nor are they doing the same “new” things as everyone else (attn: Fall Out Boy.) Joy Ride carries itself with an endearing tango flair, paying much homage to The Killers’ native habitat of dusty Las Vegas, and is a fun 2:30. Not the best track on the album, but a fun little joyride in and of itself.
   
• Dustland Fairytale. I don’t know how else to put it: this track is worth buying the album for. From the gentle pianos twinkling like stars above the desert in the entryway, we hear Flowers’ voice lilting over the night sky. He tells a wonderful story, but more importantly he proves that he’s not just the guyliner-wearing singer-by-proximity from Hot Fuss: Flowers’ has a beautiful voice and knows how to bring the house down. The classic 4-on-the-floor kicks in at Verse 2, and Flowers’ lyricism plays off the tenor of the song, the rhythm section giving backbone to the story and the latter giving emotion and reality to the instrumentation. Fantastic song, gradual layering bringing it towards a climax. The real beauty is that the song never tries to hit a “Fix You” point, rather it takes a lesson from those U2 boys and carries itself to a natural, genuine resolution. To me, Dustland is the best track on the album.
   
• This Is Your Life. Another solid 2:30 track. A nice march and swing, Life brings a timeless tale of inner-city lowlife and puts a nice dress on it. This track could have very easily been penned by Mr.Reed himself, and after last year’s tag-team of Tranquilize, it’s clear The Killers are humble enough to learn from the greats and smart enough to add their own flair to timeless themes and sounds. Definitely going to stick in your head.
   
• I Can’t Stay. If you thought you weren’t ready for Joyride, you’re probably not ready for Stay. I think this is by far one of the best tracks on the record. What begins simply enough with a simple vocal-bassline combo very suddenly drops into a calypso beat, replete with saxophones and steel drums to paint the scene. Weird? Yep. Unexpected? Completely. But somehow or another The Killers make it work.
   
• Neon Tiger. This track definitely has a familiar, simple sound. For a moment. Imagine Lou Reed as the ringmaster of a very dirty, very awesome circus. You just need to hear it.
   
• The World That We Live In. Definitely not the strongest track on the record. Much like Hot Fuss’s “Andy, You’re A Star,” there’s bound to be someone out there who considers this the best Killers track. But I couldn’t possibly tell you why. This is very late 1980s Bowie, slowly leaving the Culture Club clubs and trying to get a touch more introspective, but when you’re guitar solo reminds us of “Addicted to Love,” it’s time to move on. This is a 2 out of 5 star track in my book.
   
• Goodnight, Travel Well. If you haven’t bought the album for Dustland, then you need to buy it for the closing track. Written after the death of guitarist Dave Keuning’s mother, Goodnight is a shockingly real, dark, and ambient look into the great beyond. I can only liken this track to “Love Is Blindness,” the beloved dark monster that closes U2’s 1993 masterpiece Achtung Baby. From the brooding synth landscape to Flower’s gentle, broken refrain there’s nothing I can say/there’s nothing we can do now, Goodnight brings us into the band’s dark place. It’s sad, angry, and afraid. It withholds and refrains until it’s near-glorious climax, goodnight/travel well. Think Phil Collins’ “In The Air Tonight” collides with “Love Is Blindness.” And then gets picked up by…The Killers, of all people. True to the band, but on the fringe of uncharacteristically-genuine and personal, Goodnight shows us The Killers are on the right path: away from cliches and kitsch, and further into what matters to the band’s members. 

     To close, I think Day & Age is definitely an album that helps define who The Killers are as a band. While far from the epic proportions of a Joshua Tree, Day & Age is what a band’s third album should be: A collection of good songs, strong writing, improved musicianship, and promising live material. I don’t think The Killers are trying to become the biggest band on the planet in one fell swoop, and it’s for that reason that I really wish the Vegas boys the absolute best. Day & Age is definitely worth a listen and a purchase (you hear me out there?) The iTunes version includes some great B-Sides that won’t disappoint, and show that even the tracks that don’t make it to the final cut are strong additions to the growing, promising Killers catalog.