ay & Age
The Killers remain a “band without an identity,” said Greg Kot in the Chicago Tribune. On 2004’s Hot Fuss, the Las Vegas quartet delivered “propulsive new-wave knockoffs” with the style of Morrissey and the swagger of “Let’s Dance”–era David Bowie. Then came the “self-serious arena-rockers” of 2006’s Sam’s Town, modeled after Bruce Springsteen’s Born to Run and exalted as “one of the best albums in the last 20 years” by none other than frontman Brandon Flowers himself.
For Day & Age, the Killers have curbed their egos, said Nick Catucci in New York. Realizing they’re just “cheesy pop geniuses,” the band gives up on any particular sound and instead concentrates on crafting catchy singles. The guiding principle is, “if it sounds good, use it.” The Killers hopscotch all over the musical map, paying visits to tropicalia (“I Can’t Stay”), synth-pop (“Human”), and Clash-style world music (“Joy Ride”).
While some tracks work, most don’t, said J. Gabriel Boylan in The New York Observer. But the songs, though self-indulgent, are at least short —which keeps the “rotten ones from stinking too much and keeps the ripe ones from going rotten.”
THE WEEK'S AUDIOPHILE PODCASTS: LISTEN SMARTER
- The world's dumbest idea: Taxing solar energy
- Why would a young person today be religious?
- He said he was leaving. She ignored him.
- 31 TV shows to watch in 2014
- Israel and Russia are getting along. Have the neocons noticed?
- 10 things you need to know today: April 18, 2014
- Which states get screwed worst by the Electoral College?
- Why Good Friday is so important to Christians
- Why we can't stop procrastinating, according to science
- Why atheism doesn't have the upper hand over religion
Subscribe to the Week