post seven: the killers - day & age cd review

The Killers-- the ostentatious and ambitious Las Vegas quartet with enough bravado for the whole music scene follows up their second album Sam's Town, with Day and Age. Fan's of the debut Hot Fuss got hot and heavy when hearing Brandon Flowers and crew had traded in their synth for more guitar and an Americana/Springsteen-esque style. Day and Age is a rebuttal to all those who gave up on The Killers after their departure from new wave. Their latest effort has all the flare and pomp that Hot Fuss contained, and Flowers once again returns to the synth which had treated him so well in the beginning of his career.

The album opens up with the chiming of bells and kicks into full gear with a heavy dose of sax in "Losing Touch." The albums first single "Human" is driven with an aggressive electronic drum beat and chorus which digs deeper and deeper into the brain with each additional listen. "Spaceman" contains the more memorable hook of the album, which unlike "Human", immediately sticks. Despite harping on the fact that Day and Age is more similar to Hot Fuss than Sam’s Town, the theme of Sam’s Town isn’t completely lost, and remnants of Americana are shown in "Dustland Fairytale", a song that closes with a dramatic and epic conclusion.

Flowers displays his vocal virtuosity in both "This Is Your Life" and "I Can’t Stay". "This Is Your Life" is an emotional and uplifting tale of perseverance with Flowers channeling his inner Bono. "I Can’t Stay" shows that while Flowers vocals may be flawed, he is in complete control and purveys every feeling that’s required.

"Goodnight, Travel Well" goes the cliche route of trying to deliver an epic and melodramatic conclusion to an album. At first it appears they fail miserably-- that is until the song hits its crescendo and delivers an emotional and moving finale.

Day and Age sounds like Hot Fuss taken off the dance floor and into the concert hall. Day and Age lacks the killer hooks of "Mr. Brightside" but delivers in aspects Hot Fuss was missing. The emotional bonds are stronger, and as a whole the album is tighter. My biggest fear is wearing out this album with so many continuous listens that I may no longer consider it as one of the best albums released in 2008.

post six: some videos by the killers that i'm loving

so if there is anything you ever need to know about alicia katrina fuentes is that i am the biggest killers fan known to man-kind. so right now i'm going to post a bunch of videos the killers have done lately, just cause i love them, so in enjoy!

the killers - human (live on jools)


the killers - human

post five: anathallo - canopy glow cd review

Anathallo has been a band I’ve followed for quite some time. I remember seeing them in an Elk’s Club in the way eastern desert territory of southern California opening for a band who were, at the time, relatively small (Chiodos). Since the captivating show, I’ve been continually impressed with the band’s sense of subtle melody and unstoppable attention to dynamics and rhythm. Their first real full length, “Floating World,” was released and few heads turned—even on their tour featuring several sold out shows with The Format, it seems people by and large just aren’t taking notice to the band.

Even I, a pretty avid fan, found myself occasionally listening to “Floating World” with, generally, little attention. Many of the tracks were largely forgettable and while the two “singles” were triumphant and perhaps my ideal mix of mathy indie and pop (Hoodwink, A Great Wind…) many of the songs seemed to get a little too far off the map for me to willingly hone in.

On “Canopy Glow,” released on the highly prominent indie Anticon, the band is noticeably more focused—and decidedly darker. From the ominous cover art to the mysterious and eerie dynamics of every song, “Canopy Glow” is a giant step in the right direction. The songs contain the feel the band has been going for from day one--vocal rhythms, hand claps, and such--but the songs are quite hookier and quite more memorable than ever before. Lyrically, the band has made a significant step towards a more thematic approach. “Canopy Glow” follows the commonly used theme of death, but the songs are more exciting and lively, brought to life by vivid imagery (“Cafetorium”). There’s still plenty of sparse, desolate songs that encapsulate a feeling of pure loneliness, though (see “Noni’s Field”).

Vocally, the album is much more focused—it’s a lot more rocking on the guitars as well. It seems the band has their former style still equipped, but has moved towards a more focused overall sound. The vocal harmonies between the two singers are reminiscent of an almost Beach Boys meets The Anniversary vibe, and it’s very diggable.

By and large, “Canopy Glow” is one of my late night anthem records of the year, as its dark, encapsulating mystery and more focused vocal work is at once inviting, familiar, memorable, and insanely interesting. I strongly recommend everyone finally gets on the bandwagon with this band.