Day and Age
On first approach the Killer’s third album sounds as lightweight and disposable as the 80’s rock music that the band was so celebrated for re-interpreting on their first album. However, this is quite a personal album; where Sam’s Town was too broad, Flowers returns to his personal struggles for this album, while the music may be even more 80’s pop based than anything the band has done to this point, it’s probably, in a strange way, the deepest album and most lyrically powerful.
“Human,” which would have topped the charts in the mid 80’s is a terrific synth-pop (think When in Rome; overall the album has the feel of a Spandau Ballet record with Gary Numan's anxiety projected into similar sci-fi themes) with some of Flower’s best vocals, and is an introspective song. Thematically, it sets the tone for the rest of the album, and is a more focused version of The Killers oeuvre to this point: the search for a concrete, and satisfying relationship in a world of artifice, pleasure, and debauchery. Their debut album was the diagnosis, the artifice presented with native disgust. Their second album was the prescription, painted in ideological brush strokes, which may not have worked so well. This album is the attempt at reconciling the two, the real and the ideal (many of the songs reveal a markedly Mormon anxiety, in this respect), the lightweight music acting as ironic counterpoint , and the conclusion it reaches is quite ambiguous. Is the final track, “Goodnight Travel Well” the leap of faith, cutting the ties with the worldly and revealing a sonic nascence, or is it getting lost in worldly experience with a sensory overload?