The Killers - Battleborn (06/11/2012)
The Killers made their name with 2004's breakthrough debut Hot Fuss. Mr Brightside remains an electrifying testament to the alluring confusion of youth, and effectively galvanised a defiant voice for a new generation to identify with.
A debut album of solid gold is a double-edged sword. It guarantees lifetime membership in the musical elite, reserved for artists who walk the line of credibility and commercial success. It also sets the bar impossibly high from the very beginning. Any future release will undoubtedly be compared to that landmark.
This preamble is an attempt to justify any further comment on the Las Vegas band's fourth LP. I listened to it with the preconceived idea that the brilliance of Hot Fuss could not, and would not be topped. I was prepared to be surprised, but not expecting to be astonished.
The Bruce Springsteen influence on Battle Born is gobsmacking. Synthesised retro influences are heavily played, and leading single Runaways could have been written in the 90s.
If you have always thought of The Killers as a glamorous Indie Rock-and-Roll band (pun intended), think again. Wikipedia says it right when it labels them “heartland rock”. The band's jagged rawness, their static and spine-tingling power, has morphed into a shiny and proud beast.
The Killers have sharpened their skills and honed their taste and talents into a highly-polished machine of epic proportions.
'Baby, baby, baby I got all night/ To listen to the heart of a girl'. When this line comes out of the pretty mouth of Brandon Flowers, you know girls will swoon. 'Heart of a Girl' is a sweet, delicate number that showcases the sentimental frontman's skills of serenade. Power-riffs, stirring and melodic choral refrains and sincerity are The Killers strengths.
Battle Born is a solid rock/pop record that won't disappoint fans, but won't necessarily break boundaries either.
This is expansive and anthemic guitar rock. On display are the soaring, stadium-worthy vocals and timeless nostalgia that made the band huge, and has since kept them at the top.
The Killers sound familiar and predictable, which has the dual effect of boring at times and comforting at others.
The final two tracks, Be Still and and the title track, end the album on a high. From stirring and lyrically poignant to shredded guitar grandiosity, The Killers are definitely still relevant and as long as they continue to grow, we will continue to listen.
Rebecca McCann
A debut album of solid gold is a double-edged sword. It guarantees lifetime membership in the musical elite, reserved for artists who walk the line of credibility and commercial success. It also sets the bar impossibly high from the very beginning. Any future release will undoubtedly be compared to that landmark.
This preamble is an attempt to justify any further comment on the Las Vegas band's fourth LP. I listened to it with the preconceived idea that the brilliance of Hot Fuss could not, and would not be topped. I was prepared to be surprised, but not expecting to be astonished.
The Bruce Springsteen influence on Battle Born is gobsmacking. Synthesised retro influences are heavily played, and leading single Runaways could have been written in the 90s.
If you have always thought of The Killers as a glamorous Indie Rock-and-Roll band (pun intended), think again. Wikipedia says it right when it labels them “heartland rock”. The band's jagged rawness, their static and spine-tingling power, has morphed into a shiny and proud beast.
The Killers have sharpened their skills and honed their taste and talents into a highly-polished machine of epic proportions.
'Baby, baby, baby I got all night/ To listen to the heart of a girl'. When this line comes out of the pretty mouth of Brandon Flowers, you know girls will swoon. 'Heart of a Girl' is a sweet, delicate number that showcases the sentimental frontman's skills of serenade. Power-riffs, stirring and melodic choral refrains and sincerity are The Killers strengths.
Battle Born is a solid rock/pop record that won't disappoint fans, but won't necessarily break boundaries either.
This is expansive and anthemic guitar rock. On display are the soaring, stadium-worthy vocals and timeless nostalgia that made the band huge, and has since kept them at the top.
The Killers sound familiar and predictable, which has the dual effect of boring at times and comforting at others.
The final two tracks, Be Still and and the title track, end the album on a high. From stirring and lyrically poignant to shredded guitar grandiosity, The Killers are definitely still relevant and as long as they continue to grow, we will continue to listen.
Rebecca McCann