I’ve mentioned before that being an fan of the Killers is endlessly rewarding, and with “Day and age”, they continue to deliver the goods. Just 5 seconds after you have received the brand new album and unwrapped the plastic shrink-wrap impatiently with your quivering hands, and there you have it, a shocker hidden in the second page of the CD sleeve:
Was he trying to win an Oscar here?
There’s another 3 more of that from where it came from, but i’m gonna save you by not showing it. It’s no wonder they call their fans “the Victims”.
This is how they try to haze you into believing that the band doesn’t know a thing about being pretty, but that’s just clever deception for those who dont already know them. The Killers, and Flowers specifically, have been famous for their crystal clear perceptions of what’s presentable, and Flowers dresses his lyrics and songs as effortlessly as how he colour co-ordinates his wardrobe. He’s a vain man and it shows in his music. “Mr Brightside” and “Somebody told me” have already cemented the band’s status as Monsters of Melody, and this new album will set your legs ticking all the way to Mars.
This is what basically happened. After “Sam’s Town”, they start to wonder: The wrinkles are kicking in, the beer belly is starting to show, and oh, the hairlines are retreating to the back of our necks! HECK IT! IT’S ABOUT TIME WE SAVED THE WORLD!
And so they set out to do just that by making the same old type of music, only with a different, more grandiose theme.
Not that they don’t try, but the Killers adore their synthesizers and their melodrama, and so do we. The first track “Losing Touch” , sounds like an extension of the stadium rock sensibilities of “Sam’s Town”, the next jittery track, “Human”, sees Flowers doing his jerky jerk, like a robot trying to kickstart his engine after a period of deep sleep.
But by the time it reaches the cosmic overture, “Spaceman”, you’ll know that the Killers have finally taken flight. In their new album, they have quitted this day and age, and are now boldly reaching out for the stars. “Day and Age” is simply, not for those with a fear of heights.
In “Joyride”, an 80’s disco stunner complete with dubious congos and saxophones, it seems they have settled in space and found a place to jiggy their thick shoulder pads. This is followed by “A dustland fairytale” and “This is your Life”, anthems of grand hopes and smashed ones.
In “I can’t Stay”, they would have led us to believe that there are beaches in space where honey crashes on the shore like molten gold. while the more subtle “Neon Tiger” starts out like a opening theme for some Japanese mecha anime, but really just tells the story of how they have discovered their weakness in space, a lingering memory of humanity, of the high school proms and the pretty shoes.
And finally in “Goodnight, travel well”, they make their way back pensively, in a sprawling 7 minute lullaby for the disclocated soul.
The Killlers have never really been thought provoking nor have they tried to prove a point with their music. But in this album, what they’ve achieved is that we’ve never seen superficiality sound and look this good before and really, depth is way too overated.
I’m still going to get you! YOU! with that mismatched tie out there! I HATE IT WHEN PEOPLE DON’T COLOUR CO-ORDINATE!
In grand conclusion, this album is really the Killers’ way of announcing that they are extending their stay as heroes of glam rock, and we’ll probably continue to be victims of their romanticized parodies for some time.
8 Glamourous Pouts out of 10
(P.S. they get some minus points for sounding too much like the British band Guillemots in some parts, but still good times, man, good times.)