September 30, 200816 yr i agree if the album gets a release on the back of human it will sell very well, not sure about 300,000 but it should sell 200,000 or so,, sawdust sold well for a b sides album so this brand enw studio album will easily rocket to number 1
October 2, 200816 yr Author If KoL can do 150+k in their first week I'm sure the Killers won't be far off! How much did their First two albums sell in their first week? :unsure: But 'Human' is probably my 2nd fave single from them (behind Mr Brightside of course -_-) :o :lol: I wonder what song could beat Mr Brightside ? :wub: :P I don't think I could manage to visit more than one forum on a daily basis. It'd be too much for me. :( :lol: I'm quite looking forward to hearing their album! The Killers always put out great stuff. :wub: I'm looking forward to their next X-mas single too since the last two were great! You better find a way to visit here too! :arrr: And I just love the X mas singles too :wub: Would be great a whole album for that season. ^_^
October 2, 200816 yr Yeah, I'd love an X-mas album! To bad we'll have to wait a few years... or 10. :lol:
October 4, 200816 yr Author By then it´d be a Greatest X-mas singles album. :lol: Here is the track list for "Day & Age": :o "Losing Touch" "Human" "Spaceman" "Joyride" "A Dustland Fairytale" "This Is Your Life" "I Can't Stay" "Neon Tiger" "The World We Live In" "Goodnight, Travel Well" Opener "Losing Touch" sets the template, with a David Bowie-inspired groove and buzzing horns. Frontman Brandon Flowers' lyrics remain inscrutable: "The legend grows of you got lost but you made your way back home / You sold your soul like a Roman vagabond." Later, the Killers test out Duran Duran-style white funk on "Joyride," replete with a saxophone solo. Sax, steel drum, harp and acoustic guitar form an exceedingly unusual instrumental bed on "I Can't Stay," while "Spaceman" is a full-throttle new wave rocker with shades of Queen. "Day & Age" concludes with the dark, bombastic epic "Goodnight, Travel Well," which runs almost seven minutes. Source
October 4, 200816 yr Yeah, that's what I was thinking. 10 tracks especially for a Killers album. :unsure: Well, there is a long one at the end. I'd think they would have a few other longer ones on there too then!
October 9, 200816 yr Quite like it, but "the Killers" doesn't stand out that much against the background. :( The style goes really well with their logo though
October 9, 200816 yr The artwork reminds me so much of the Sawdust album artwork, not sure why. 10 track albums are a risk, but what it normally means is the 10 tracks on the album are all crafted so well and mould into a very good album.
October 9, 200816 yr Not sure about the artwork... maybe I'll get used to it I think it's because i didn't expect it to be like that At all! :lol:
October 11, 200816 yr Author ^^ Me neither! :lol: But I love it! ^_^ ---------- The Killers: Day And Age World's first track-by-track review Joe Bosso, Thu 23 Oct, 11:00 pm UTC The Killers' Day And Age Early success can be a b**ch sometimes. The Killers have always had a lot to live up to after they came out of the box, fully formed, on 2004's Hot Fuss, an irresistible razzle-dazzle debut. Hot Fuss will pay Brandon Flowers and company's bills for years to come. Yet it's also an album that could have fans bugging him in restaurants asking: "How come you can't write a song as good as Mr Brightside anymore?" The Killers' 2006 second album, Sam's Town, didn't help. No longer content to make the dancefloor quake with dandyish fashionista charm and neon beats, main songwriter Flowers wanted to connect emotionally. He wanted to make Big Statements along the lines of Bruce Springsteen and U2 (tellingly, Flood and Alan Moulder, both of whom had worked with U2, helped produce). Sam's Town saw Flowers cranking up the epic storytelling like a man constantly watching The Grapes Of Wrath while Springsteen's The River played in the background. Day And Age isn't just The Killers' best album. It's one of the best records of 2008.Such grand ambition can sometimes be folly, especially when scale obscures eloquence. And detractors duly complained that Sam's Town saw The Killers losing the plot. As a transition album, Sam's Town did some heavy lifting, and at least proved The Killers were not going to rehash the winning formula of Hot Fuss. In interviews, Brandon Flowers even claimed they wanted to be "the next U2." Here's the thing, though: with Day And Age The Killers exhibit the smarts to pull off that leap into mega-stardom. Day And Age: album of the year? The Killers' Day And Age has all bases covered. It captures the emotional anxiety of late 2008 with a startling directness. There's also plenty of rocking, stomping beats to fill dancefloors. And there are melodies to fill your head and invade your soul. Produced by Stuart Price of Les Rythmes Digitales, it's full of buzzing horns, glorious synth atmospherics, gargantuan guitar breaks and epic impulses. Day And Age isn't just The Killers' best album, it's one of the best records of 2008. Day And Age is released 24 November (25 Nov, US). Here's MusicRadar's exclusive review. The Killer's Day And Age: track-by-track Losing Touch A rousing Bowie-like groove driven by honking saxophones and ping-ponging keyboards that kicks things into high gear. Brandon Flowers' voice is smooth and full as he intones "You made your home/ and you made your way back home/ like a roving vagabond, I'm losing touch." Dave Keuning makes his presence felt with a soaring guitar lead. Dave Keuning makes his presence felt with a soaring guitar lead.Human A gentle, phased, clicky guitar riff opens this gorgeous nod to the gentle side of '80s new wave. "Cut the cord/ are we human/ my sign is virtual/and my hands are cold/ are we human, or are we dancer?" Flowers asks in a plaintive, melancholy manner. Then the song gallops off into a Cure-meets-U2 arena shaker. Spaceman Shades of Queen grace this piston-pumping, fast-paced rocker. A perfect driving song - big drums, big hooks, and a wall of sound. Joy Ride The best Bryan Ferry song that Bryan Ferry never wrote. A sensuous, funky beat punctuated by Stones-like sax, biting guitars that tear through the choruses and a melody that hooks you on the first listen. The middle-eight is breathtaking. In fact, the entire band seems to grow more energized as the song progresses. Fun stuff. A Dustland Fairytale After a delicate keyboard intro, Brandon Flowers' vocals are appropriately fragile. But as the song swells, with jabbing cellos that seque into a double-time rage, he opens both his heart and his throat. This is a large-canvas narrative with a sound to back it up. Flowers' literary chops are developing in an exciting way. This Is Your Life African tribal chanting and harpsichord are strange musical bedfellows, but they spin a magical web on this spacey yet thumping track. Dave Keuning's echo-laden guitar combines with Flowers' barbiturate voice for an overall effect that is spellbinding. I Can't Stay A delicious Caribbean beat propels this stunner that features sax, harp and a gently strummed acoustic guitar. A song to sit back and drift away to until a dramatic middle-eight makes you bolt upright and go, "Wow!" Steel drums ride the song out in smashing style. Brandon Flowers has developed into a world-class vocalist, full of passion.Neon Tiger With little fanfare, this mid-tempo grinder gets going and doesn't let up. The instrumentation is perhaps the sparest we've heard yet from The Killers, but the middle section is a marvel of dramatic intensity. The World We Live In Melodrama that isn't overwrought or cloying is tricky to pull off. But Flowers' heavily affected, double-tracked voice is a thing of strange beauty here. He's developed into a world-class vocalist, full of passion and searching for the kind of truths that only the finest singer-songwriters can. Although the band provides gutsy support, Flowers owns this untamed monster. Goodnight, Travel Well Just as U2 concluded their arguable masterpiece, Achtung Baby!, with a descent into darkness on Love Is Blindness, here too, The Killers bring the curtain down with a seven-minute ride into a nocturnal dreamland. Forlorn and ominous, Flowers sings, "The universe is standing still/and there's nothing I can say/ there's nothing we can do now…nothing we can do now." Get ready for a crushing crescendo in which he's on the floor, begging "Stay!/ don't leave me/ the stars can't wait for you!" Drummer Ronnie Vannucci lets loose with a flurry of crashing cymbals that'll leave you breathless and wondering, it is still night or have we reached the dawn?
October 15, 200816 yr I like the artwork, love Human and Spaceman at Leeds Fest was awesome. so basically can't wait for the album. Edited October 15, 200816 yr by Ashford.
November 22, 200816 yr Author Here's the review from NY's "Village Voice". It's an interesting read. http://www.villagevoice.com/2008-11-19/mus...om-the-killers/ More Nonsensical Digital-Heartland Anthems From The Killers Still prancing in the dark By Rob Harvilla published: November 19, 2008 This right here is American.You can imagine that growing up in Las Vegas would give you wildly distorted and entirely wayward ideas about what the rest of the world is actually like, that you would come to regard the pervasive neon, the garish glitz, the profound seediness, the rampant amorality as totally normal and commonplace—a lurid fantasy world that completely defines your reality. But the Strip is not Main Street. That's not really the Eiffel Tower, that's not really Caesar's Palace, that's not really New York City, and that's not really a woman. This confusion is what makes LV pretty-boys the Killers' blatant desire to be the Great American Rock Band so fascinating: Their conception of what "Great American" means is plainly ludicrous. ("Rock," too, come to think of it.) First surfacing in 2004 with Hot Fuss, they began as a delightfully vapid fashionista synth-pop/dance-punk band, but soon betrayed a desperate and all-consuming longing to think Really Deep Thoughts, to transform wine into water, Nevada into Nebraska, all those glittering neon palms into The Joshua Tree. Consider "When You Were Young," the lead single off 2006's self-diagnosed concept album Sam's Town, which deigned to chart "the sad demise of our old-fashioned American values," as its press materials insisted, which here means incredibly expensive-sounding synth-pop/dance-punk songs about down-and-out blue-collar losers stuck in "two-star towns." Listen to "Uncle Johnny" at your own risk. The condescension was total, and totally engrossing, and nowhere more so than on "When You Were Young," wherein frontman Brandon Flowers thundered the line "And sometimes you close your eyes and see the place where you used to live," with a resoundingly pompous, bombastic, all-caps/boldface/italicized bellow, as though he were Bruce Springsteen reciting the Ten Commandments to a crowd of hundreds of thousands. These guys just want it so bad, to mean something, to speak for us, to ascend to Super Bowl halftime show Voice of a Generation heights. It's the funniest rock-'n'-roll song of the past five years and, naturally, quite possibly the best. So now comes Day & Age, a luxurious, hedonistic epic produced by Stuart Price—he of Madonna's Confessions on a Dance Floor (i.e. her last good record), plus a fantastic disco-fied remix of early Killers smash "Mr. Brightside"—that boasts the same alluring contradiction: It sounds like approximately $10 million (it's basically Bottle Service: The Album, and just in time!) but attempts to rhapsodize the downtrodden and penniless. Typical song title: "A Dustland Fairytale." Typical soul-searching refrain: "Are we human/Or are we dancer?" (?) "We talked about the real things and drove into the fire," Flowers intones on the ridiculous asexual sex jam "Joy Ride," and as he awkwardly gyrates about to a torrent of Miami Sound Machine accoutrement (congas, horns, funky bass), you gotta wonder what these guys consider "real things." His lyrics leap haphazardly from striving-American-heartland clichés ("wishing well," "hopes and dreams," "when your chips are down," "the great beyond") to botched zen koan/pickup-line nonsense, e.g. "They say the Nile used to run from east to west." Of course—and you can't overemphasize this—it all sounds fantastic, no matter how implausible it gets: Watch in awe as "Are we human/Or are we dancer?" is transformed into one of the year's prettiest, most rousing choruses, delicate and soaring, grammatically unsound gibberish rendered improbably profound. Any attempt to embellish the synth-guitar-bass-drums foundation, though, meets with near-disaster: The Stax-on-Atlantis horns on "Losing Touch," the cruise-ship steel drums of "I Can't Stay," the Ladysmith Lily-White Mambazo rockapella hiccups that drive "This Is Your Life." But every tune eventually resolves to another effortlessly delicate/rousing/soaring chorus, belying the eternal wisdom of a band savvy enough to realize that the most important part of U2's "Pride (In the Name of Love)" goes "Oh oh-oh oh/Oh oh-oh oh/Oh oh-oh oh/Oh oh-oh oh." As further proof, join us now at a sold-out Hammerstein Ballroom on a late October Friday night, the Killers and their rapt, severely inebriated audience a splendid antidote to a week's worth of CMJ shows full of vanilla-indie yawners way too cool to express enthusiasm of any kind. No, here we can all scream the words to "When You Were Young" together, and that's just the opener. As I recollect, everyone seemed to hate the rest of Sam's Town at the time, but tonight those tunes receive the same warm reception as the Hot Fuss hits. A popular activity at Killers shows apparently is for a soused couple to face each other and scream the words jubilantly into each other's faces, which gets confusing when said words are, like, "Somebody told me/That you had a boyfriend/That looked like a girlfriend/That I had in February of last year," etc., but, ah, f*** it. For someone whose lyrics (usually) betray such messianic aspirations, Flowers is not a particularly flamboyant frontman, with no particularly theatrical stage moves, unless you count standing on a monitor and thrusting his perfect cheekbones out into the adoring crowd, which I don't, really. Nice feathers. Anyway, any line, no matter how nonsensical, sounds positively brilliant when shouted by a roomful of people, even the infamous Hot Fuss chorus "I got soul but I'm not a soldier," which when shouted en masse sounds suspiciously like "I got sold but I'm not sober," but that fits, too. Most of the goofier Day & Age tracks the Killers dust off tonight are met with cheerful indifference—I assume all the horns are synthesized until I realize the couple in front of me who've been jubilantly screaming lyrics at each other the whole time are just blocking my view of the sax player—but if nothing else, "Human" will join the pantheon, once again justifying this band's oft-outrageous ambition. The record ends with the seven-minute mini-epic "Goodnight, Travel Well," a slow-burning ballad that slowly builds to chest-beating, Broadway-climax histrionics. We're back to Great American Rock Band sermonizing here—"All that stands between the soul's release is temporary flesh and bone," etc. You're not alone if that doesn't particularly mean anything to you, but what it means is less important than the mere fact that the Killers are trying to make it mean something. We appreciate the effort, that most fundamental of American traits, and that holds true whether you're from New York City, Detroit, Kansas City, Death Valley, Sam's Town, or, yes, Vegas.
November 24, 200816 yr So out today and with a number of people waiting and not downloading the leak, what do people think? Edited November 24, 200816 yr by Ashford.
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