Eccentricity can be an very endearing quality to a band, if handled right. For The Killers, however, it is handled in the least pleasant possible way – they have the gall to release a B-sides record (”Sawdust”) that skips between genres recklessly just months prior to the release of their weak glam-rock failure (”Sam’s Town”). Trying to keep an open mind about this, I think that there is a way to regard this album that can not only make it have instant sentimental value, but also earn a well-deserved place among your collection. Think of each song on its own (there are a few for which this won’t work because they’re not very good, but only a few), as if you found it on a CD left anonymously on your doorstep this morning and are listening to it with absolutely no pre-conceived notions about it. Almost every song is charming in its own way, and stands on its own.
Tranquilize – featuring Lou Reed (who just comes off as Brandon in a slightly lower register), what this song lacks in coherency, it makes up for in its mood; all at once hopeful and resigning, slightly edgy and radical. The thrilling guitars cycle off in the end to clear, perfectly coherent piano thuds, accompanying last words to be remembered: “We’re the ones who still believe and we’re looking for a page in that lifeless book of old where a dream might help you cope in the bushes and the bombs.”
Shadowplay – my dad heard this on the radio and thought it sounded a bit like the Cure. Such a flattering comparision is not entirely deserved, but still the soupy, abstract landscape hearkens back to the 80’s (not to mention the line: “In a room without a window in the corner I found truth”). It’s certainly trying for too much, but that’s where the appeal lies, and they get away with it.
Leave the Bourbon on the Shelf – swagger does not suit The Killers comfortably. Catchy and danceable as this may be, it is more than a little bit uncomfortable. It feels like there could be much more to this. It’s a good idea, just not one that has been developed fully, or has enough to develop. As he says in the last line, “Don’t you see….that I’m not satisfied”.
Under the Gun – an unhealthy, possibly violent romance, told over a whole mess of modern rock and pitch-controlled vocals (this is a song from their “Hot Fuss” days, where Brandon’s voice was run through computers). It is perfectly enjoyable, if you allow for the moments in which it is verging on obnoxious.
Where the White Boys Dance – great title included, this song is the strongest on the album next to Shadowplay. Controlled, brooding bass underlines the honest, slightly sacrastic vocal before an exhilerating punch of high guitar wails blares through and you can almost see the flashing lights of a dance club before your eyes. Just as easy to listen to at a party as it is alone in your room. Either way, you’ll probably end up looking foolish dancing like a white boy, glorified straight out of the song for all to see.
Show You How - the idea of recording music through someone’s answering machiene is so quirky and sentimental, this song is instantly likeable. On an album trying to be so many things, this song is absolutely individual and confident. Even if it isn’t, it certainly fooled me.
Move Away – this song seems like The Killers’ one genuine creative release on the album. They’re no longer trying to be too clever, or throw in an odd synthesized beat here and there – they sound like a really good rock band, thrashing around and yelling for you to “take off your skin when you listen”.
Glamorous Indie Rock and Roll – I’m not sure what I should say to make fun off the abysmally bad lyrics, but this song sounds great, is instantly fun to listen to and makes you want to sing out the title when it comes around for the 22nd time.
Romeo and Juliet – in a funny suburban setting, Romeo and Juliet emerge as two teenagers caught in their casual whirlwind romance. It’s an interesting note of closure to the album, admitting “the dice was loaded from the start”. If this is a swaggering farewell, for once, it works.
