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The Killers - Hot Fuss
- From 2004 through 2006, there seemed to be a massive resurgence of attention-grabbing bands whose sound was a throwback to a simpler time: the ‘80s, when New Wave and post-Punk ruled the airwaves, bizarre fashions ran wild and synthesizers and drum machines became standard instruments on many major musicians’ pressings. These “revival” bands were noticed for their catchy singles, immaculate fashion sense and a presence that compensated for any lack of substance with an excess of style.
Most of these groups fell out of the spotlight as quickly as they came to the forefront of the world stage. Kaiser Chiefs’ blend of rock guitars and party-ready tunes had little to no staying power past their infectious debut album. The Bravery found early success with several dynamic singles but failed to maintain momentum among its similarly styled competition. Franz Ferdinand remains popular but they have yet to replicate the prominence they enjoyed circa 2004 with the smash hit, “Take Me Out.” Bloc Party still captures attention with its mix of stadium rock and electronica elements with U2-at-its-most-mediocre-style political posturing but, despite two fine post-“Silent Alarm” albums, the Party seems to be coming to a close.
The only band from this period that seems able to attract roughly the same amount of popular and critical attention now as they received when they were upstarts is the Killers. Not only do they host well-attended shows and create records that continue to sell, they are also the only group belonging to the aforementioned group of New Wave-revival contemporaries whose sound continues to evolve and merit any degree of discussion. Not everything said about the Killers’ development as artists over the years has been especially positive, but their polarizing success occurred as similar bands faded into obscurity, perpetuating the band’s vitality and perhaps proving Oscar Wilde’s old adage: “There is only one thing in the world worse than being talked about, and that is not being talked about.”
Revisiting their 2004 debut album, “Hot Fuss,” it’s easy to see why the Killers might receive an elevated level of attention over their peers. The album features the same danceable tunes crossbred with techno instrumentation and crunchy guitar work available on many similar records of the time, making it instantly likeable but hardly unique. However, it also features bits of subversion in the lyrics between its immaculate beats and unshakeable hooks. “Smile Like You Mean It,” despite its spectacular synth riff and memorable melody, may be one of the saddest happy songs ever recorded, offering an account of resignation to an unfulfilling life tormented by memories of a better past. Infectious single “Mr. Brightside” has a Pulp-esque voyeuristic quality to its seemingly simple lyrics of an unrequited crush. The Killers were also the only band to explore the androgynous gender-bending so many Glam and New Wave bands used to alternately amusing and shocking effect in the ‘80s. “Somebody Told Me” and especially “Andy, You’re a Star” leave gender ambiguous in songs about sexual attraction in a way everyone from David Bowie to the members of Poison would approve.
Despite the atypical substance the band injected into its debut, “Fuss” is certainly not an album for the ages; its influence may have outlasted the premieres of many Killers competitors, but it is no classic. Most of the non-single tracks feel like filler, and the record ends with a whimper due to weak album-closer “Everything Will Be Alright,” a spacey, meandering affair that ultimately never goes anywhere, stranding the album in a gully when it should have ended on at least a hill. However, almost any flaws can be excused due to the presence of one perfect, anthemic song: “All These Things That I’ve Done,” a borderline gospel number about redemption and salvation that breaks “Fuss” out of its post-Punk mould to deliver a tune of enduring power. The Killers’ debut features several jewels, safeguarding their reputation, but “Things” remains the centerpiece of the group’s crown.
Reviewer: Adam Rowan
new
Reviewer's Rating: 6.5
Reader's Rating: 5.00
Reader's Votes: 2
Added: 22-Jun-2009
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