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Day & Age | 
| Artist: The Killers
Label: Island Records
Category: Music
List Price: $13.98
Buy New: $9.99
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Rating:  101 reviews
Sales Rank: 19
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 001219702
UPC: 602517872875
EAN: 0602517872875
ASIN: B001FWRZ46
Release Date: November 24, 2008
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Losing Touch | | • | Human | | • | Spaceman | | • | Joy Ride | | • | A Dustland Fairytale | | • | This Is Your Life | | • | I Can't Stay | | • | Neon Tiger | | • | The World We Live In | | • | Goodnight, Travel Well |
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Album Description
Four years after the release of their landmark debut in 2004, MTV VMA Award-winning, Grammy-nominated, multi-platinum Island Records group The Killers have completed their fourth album - and first new studio album in two years - DAY & AGE, featuring the new single, "Human" debuting worldwide September 22nd, while the digital single will be released September 30th. The new album hits stores November 25th - two days before Thanksgiving. DAY & AGE was produced by Stuart Price, a key figure in electronic music (Les Rhythmes Digitales) who previously worked with The Killers on "Don't Shoot Me Santa," their 2007 Christmas single; as well as music on their 2007 compilation, Sawdust. Over the past five years, Price has worked as a producer, mixer, programmer, and keyboardist, including The Killers' "Mr Brightside" remix which was Grammy Nominated. The Killers - Brandon Flowers on vocals and keyboards, guitarist David Keuning, bassist Mark Stoermer, and drummer Ronnie Vannucci - found time to complete their new album while also wrapping up their biggest summer rock festival season in the U.S. and abroad. Historic headlining gigs at England's prestigious Leeds and Reading fests coincided with an appearance on the cover of NME's August 8th issue. Earlier in 2008, the Killers took home top honors for Best Band of the Year and Best Track of the Year ("Tranquilize") at the annual NME Awards USA gala, at the El Rey Theatre in Los Angeles on April 23rd. DAY & AGE comes one year after the release of Sawdust (November 2007), a 17-song collection of previously unreleased session tracks, B-sides, rarities and one-offs. The album was assembled at a recording studio in New York's Hell's Kitchen, where the Killers worked with Rock And Roll Hall Of Famer Lou Reed two recordings. Two singles and videos were issued: "Shadowplay" (from the motion picture soundtrack of Control, Anton Corbijn's biopic of Ian Curtis), and "Tranquilize". The Killers' RIAA platinum second album Sam's Town (October 2006) debuted at #2 and spun off two hit singles: the #1 Modern Rock "When You Were Young," nominated for Grammy Awards for Best Rock Song and Best Short Form Music Video; and "Read My Mind," the band's first #1 at Triple-A. Their worldwide 5 million-selling debut Hot Fuss (June 2004) was the longest-running rock album inside the top 50 on the Billboard 200 albums chart for all of 2005, logging 94 weeks on the chart - 53 of those inside the Top 50. The album spun off four solid hit singles - the Grammy-nominated anthem, "Somebody Told Me," the VMA-winning (and Grammy-nominated) "Mr. Brightside," the Modern rock hit "Smile Like You Mean It," and the Grammy-nominated "All These Things That I've Done."
Album Description
Inspiration has never eluded Las Vegas' The Killers, and it's a damn good thing it hasn't, because their 2008 record, their third studio album entitled Day & Age, is full of their finest songs to date. Together with bassist Mark Stoermer, guitarist Dave Keuning, and drummer Ronnie Vannucci, Flowers helped to mold the album into ten songs that work best together as a whole, each individually describing an evolution of the Las Vegas band's sound. "We're always pushing ourselves," says Stoermer, "and there's a lot of diversity here-from anthemic rock to dance songs." Flowers adds: "We felt like Sam's Town was a continuation of Hot Fuss, and we feel like this is a continuation of Sam's Town.'
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| Customer Reviews: Read 96 more reviews...
 More than I expected December 2, 2008
Erik Raymond (Omaha, NE USA)
15 out of 17 found this review helpful
This is my first purchase of Killers' stuff. I typically brush against 80's alternative and attempts to resuscitate it. However, after previewing track after track, I was sold.
I can't think of another contemporary band who is able to do what these guys do so well. Each song is unique, the music is arresting, the lyrics are engaging, and the songs are flat out well done.
My album has been on repeat throughout the weekend. I'm officially down with the Killers.
 I really want to like it, but... November 25, 2008
M. Rodgers (Boise, Idaho USA)
9 out of 13 found this review helpful
I really wanted to like this release. I thought "Hot Fuss" had some great tracks, but several throwaways. "Sam's Town" was a better overall effort, but didn't have the standout tracks like their first release. I was hoping "Day & Age" would have some outstanding tracks but still be consistent - but it really has neither. In fact, I believe there are a couple of better songs on the "Sawdust" cd. I found the new release lacked many compelling tracks other than the opener "Losing Touch" and "This Is Your Life". The two singles, "Human" and "Spaceman" are ok, but don't really grab me. Don't get me wrong - it's a decent cd, but I had high expectations.
It seems that The Killers have lost the spontaneity they displayed in "Hot Fuss" - I hope they get it back on their next cd.
Day & Age essential for fans! For new listeners, don't start here November 25, 2008
amerdale876 (MD)
8 out of 13 found this review helpful
Most critics and fans of The Killers panned their last studio release, the Springsteen-like "Sam's Town." Most fans complained that it didn't sound like their sound; like they had sold out just to merely overcome the much-dreaded sophomore slump that all new bands fear. I could not disagree more. I thought their sophomore album was a superb album -- and I'm not just saying that because I'm a Springsteen fan. The Killers are still a new band (especially when "Sam's Town" was released) and I thought it was a brave, fresh move for them to take so they wouldn't just be pidgeonholed into one specific genre.
Well, Killers fans of their early sound of Duran Duran and other new wave 80s band-sound can now rejoice with their newest release, Day & Age. The first track, "Losing Touch," actually sets the perfect mood for the remainder of the album, this time borrowing sounds from the much-underrated Orchestral Manoeuvres in the Dark (OMD) (if you know who I'm talking about, you'll most likely nod your head in agreement; if you don't know who I'm talking about, then you'll think this album is highly original and you desperately need to listen to more music released before 2001). The first notes and lyrics don't sound like anything that special, but the payoff comes when the chorus hits and each time thereafter. It's a good start for the album and good lead-in to the second track, "Human," which takes a different musical turn with lead singer Brandon Flowers familiar harmony and building synthesizers. However, even though this is the first single off the album, it's not my favorite on the album. The lyrics try too hard to be meaningful but the music is catchy.
The third song is "Spaceman" and it goes high tempo, also bringing the album up a notch in terms of their writing. This is usually the part of the review where I site an example by writing in a sample of the lyrics, but, seeing how they haven't been released yet, just take my word for it: this song rocks. Unfortunately, the next song, "Joy Ride," doesn't share that trait. Its funky beat, minimal saxophone and sound as if it were a castoff from the "Hot Fuss" album doesn't appeal to me at all. "A Dustland Fairytale" is a much-welcomed song to my ears as its piano-ballad beginning echoes out and soon gives way to driving guitars and pounding drums that lets me know that there is no slump for this band.
"This is Your Life," the sixth track, begins with strange male chants, then beginning with the usual beats and synth loops. This song sounds awfully like a classic Lou Reed song but with Flowers slightly higher pitch, and I like it. The next song, "I Can't Stay," continues that funky island-type beat from "Joy Ride," even adding more of that muzak-style sax. The song starts off great but once that jazzy sax comes in, the song loses lots of points. While I admire that the band is trying out some new sounds, this song only brings the album down. Luckily, "Neon Tiger" follows and puts things back on track. Even though it's too short a song to make much of a mark on this album, it still sounds a hell of a lot better than its predecessor.
"The World We Live In" comes in mid-tempo, singing of cynicism with a tinge of hope. It's a good song and reminds me a bit of a Tears for Fears song. I don't know if someone might take that as a compliment or an insult, but I'll let the listener decide on their own. The last song is "Good Night, Travel Well" and it begins with a very ominous sound, and Flowers voice creeps out to sing of more cynicism that almost screams of a slower sequel to "All These Things That I've Done." Another good thing about this song that clocks in at just under seven minutes is its appropriate use of horns on the album (finally!) and strings.
"Day & Age" is not the best album we probably have yet to hear from The Killers (nor the best released so far), but it's not a bad album either. My rating is three out of five stars. If you're a big fan of The Killers, definitely pick this one up, but don't go into it with any expectations of their previous album "Sam's Town." It seems apparent now that they're playing different genres, or inspirations, with each new release -- from the Duran Duran-inspired "Hot Fuss" to the Springsteen homage that is "Sam's Town" to the Lou Reed-like few tracks on "Sawdust" to this album, taking cues from OMD. I wonder what their next album will sound like. That's just the fun of being a Killers fan ... and I'm proud to count myself in that group.
Holy smokes! December 3, 2008
It's Always Sunny (Rochester, NY, USA)
7 out of 9 found this review helpful
And a late 2008 release takes the lead!!
I NEVER expected to love this album as much as I do. There is little, if anything, that I can think of that is wrong with this album. To be honest, I liked them before, but not enough to go out and buy one of their albums. This one I bought on a whim because I sort of dug "Human"... oh man, I had no idea what I had gotten myself into.
As far as Brandon's vocals/lyrics go, his range has impressed me with this outing to a level that few have before... from the Queen-esque "A Dustland Fairytale" to The Cure-level epic stylings featured in "The World We Live In", every track has its own signature catch to it that continues to draw me in during what is probably my 150th full listen to within the last week (seriously, this album has taken over fully).
To all of you non-believers in band redemption from one great album, to a wasteful b-side album, and a triumphant return back to greatness, in my opinion... this will be your greatest example if you're looking to believe again.
I LOVE THE KILLERS!! Woo... I mean, come on! Why can't I be as slick as these folks?!
Enjoy it, everyone!
Killers' Best, and The Best of 2008 December 29, 2008
M. Stockslager (NC)
6 out of 6 found this review helpful
A track-by-track review of my favorite album of 2008.
Losing Touch: Here we have the Killers' grandest album-opener by far. No disrespect to "Jenny Was a Friend of Mine" or "Sam's Town"; those tracks are great in their own ways. But "Losing Touch" has glimmer and funk to it which preview what is to come on the album. The song's lyrics are more than likely a response to critics who disowned the band after their sophomore album Sam's Town failed to satisfy them. Brandon Flowers tells them to "run and tell their friends I'm losing touch." After Flowers was accused of selling his soul "like a Roman vagabond," he "made [his] way back home" with this album.
Side note: While Sam's Town was poorly received by critics, I still say it's one of the best albums of the past 20 years.
Human: The first single from Day & Age is a dreamy dance-pop tune that never fails to make tears fall and my feet tap. The chorus' infamous line "Are we human or are we dancer?" is a paraphrase of Hunter S. Thompson and has stumped listeners and critics alike. My interpretation of the song this: Flowers sees people today as those who have lost all human emotion, said "so long to devotion," and has forsaken grace, virtue, good, soul, and romance. It is a heartbreaking sentiment put into beautiful words.
Spaceman: It only makes sense the second single would be a goofy Bowie-esque anthem about alien abduction. After such a thought-provoking song like "Human," what would be better than an extremely catchy rocker that doesn't have any deep, hidden meaning (or does it?). This simply is an account of being probed by aliens and then being convinced that "it's all in my mind."
Joy Ride: A funky, sexy (if the Killers can be called sexy) tale of late night drives in the desert, sleazy motels, rattlesnakes, and romance. Then we're told of a "glorious existence" in the distance: a promised realization of this "dream of the free world"?
A Dustland Fairytale: Sort of a continuation (or prequel) of Joy Ride, "A Dustland Fairytale" contains images of Brandon's childhood. He saw his father as "some kind of slick chrome American prince." We're given visions of a battle between Cinderella and the devil. She seems to be the only hope of saving the kingdom. Cinderella, the devil, and the kingdom probably symbolize something in Brandon's life, but to the listener the song is an account of a desert showdown between good and evil.
This Is Your Life: How odd that a song recalling a lonely stripper/call girl named Candy (formerly Jackie) on Track Street is back dropped with an African-style chant. Images are conjured up of a desolate west where "crooked wheels keep turning" and "the blood just barely dries" (almost reminds a person of the barren, hellish world created by Cormac McCarthy in No Country for Old Men). The chorus encourages Candy to "wait for something better," but she's reminded that she "[doesn't] know how to fly" to her dream-filled sky. Depending on one's perspective and interpretation, the song could be considered either a hopeful encouragement to Candy or a depressing reminder that she can't rise above her circumstances.
I Can't Stay: The lyrics are more than likely intentionally vague, but the subtle Caribbean beat and the chorus make the song seem like a celebration of coming out of some unknown darkness and into some indentified light.
Neon Tiger: Taken literally, this bombastic rocker urges an endangered species of tiger to run away from some unidentified evil that hunts it. I have not yet nailed down what I think the song means, though I do have one theory. The "neon tiger" in question may symbolize the dying planet, and the evil that hunts it could represent our human race that puts it in such danger. I've never heard of The Killers being strong environmental activists, but this song could be a subtle hint that we may be turning our earth into an endangered species. Just a theory.
The World That We Live In: The album takes us on a tour through the Midwest desert, the plains of Africa, the Caribbean shore, and outer space. This second-to-last track seems to be a recap of the trip, having "lessons learned" but still yearning for "something real." No matter what the world and life has come to, Flowers feels "sanctified and free."
Goodnight, Travel Well: The album closes with a monstrous, rumbling epic that seems to memorialize a family member that passed on. (EDIT: This is correct. It was written shortly after Dave's mother died). Flowers goes through a period of grief: "grieving frame," "my spirit moans with a sacred pain." He seems to reach peace: "It's quiet now, the universe is standing still." He recalls past memories: "Every word you spoke and everything you said, everything you left me rambles in my head." He goes back to the moment of the passing to plead for more time with them: "Stay! Don't leave me! The stars can't wait for your sign, don't signal now!" But through all this, "there's nothing [he] can say, nothing [he] can do now." Finally, he bids them one last farewell: "Goodnight...travel well." The song builds to this crushing climax, which soars with twinkling piano keys and crashing symbols, and then fades into black. Goodnight.
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