The Killers – Hot Fuss

Over the last several years, many music critics have been complaining about the seeming overabundance of “The” bands – The Strokes, The Vines, The Hives, The White Stripes, The Rapture, etc. – primarily because of the sheer presence of the bands; the quality of their music is too often a secondary concern. In an image-heavy industry, many music reviewers skip over the talent (or lack thereof) and first knock the less important naming and marketing efforts of the artists. The inexplicable thinking here is that because there are so many “The” bands with a garage/dance-rock sound that harks back to the late 70s and early 80s British and American post-punk scene, most of them must be devoid of sufficient talent and simply seek quick fame. Such pettiness smacks of jealousy.

I give new artists and albums the benefit of the doubt, and there isn’t a doubt in my mind that it would be to your benefit to listen to The Killers’ debut LP, Hot Fuss. This sparkling post-punk/synth-rock album opens with Dave Keuning’s rocking guitars and pounding drums on “Jenny Was a Friend of Mine.” Lead singer/keyboardist Brandon Flowers recalls Robert Smith with his almost British, high, slightly off-kilter vocal style. The synthesizer lines are razor sharp, and The Cure’s influence drenches this opening winner without drowning it in imitation. “Mr. Brightside” is even more catchy than its predecessor, sounding like the perfect track for a reflective scene or the closing credits of a John Hughes film about 80s romance. “Mr. Brightside” has faster drumming and bass lines courtesy of Ronnie Vannucci and Mark Stoermer, who shift impressively from their massive beats on “Jenny Was a Friend of Mine.”

For most of the public, including me, The Killers’ calling card has been the frenetic “Somebody Told Me.” Having seen the band perform the song on several TV stages, I was blown away by this post-punk animal. The chorus about androgyny and ex-lovers grabs listeners instantly: “Well somebody told me / You had a boyfriend / Who looked like a girlfriend / That I had in February of last year / It’s not confidential / I’ve got potential / A rushin’, a rushin’ around.” By contrast, “All These Things That I’ve Done” starts with Flowers singing quietly like John Lennon. Keuning and the rhythm section then take over and carry the song in the Scottish rock nature of Big Country.

Throughout the track, there is a consistent similarity to late Lennon and early Big Country work, as if the Liverpudlian and the Dunfermliners moved to Las Vegas and combined forces. The anthemic guitars never suffocate the overall sound, to Keuning’s considerable credit. Midway through the song, The Sweet Inspirations provide gospel vocals for a surprising, unique rock experience. If not for Flowers’ louder and more textured vocals (as compared to Bernard Sumner), “On Top” could easily be an early New Order song. Vannucci and Stoermer are a dynamite duo on rhythm, and the beat is consistently intense but never overwhelming.

Hot Fuss is a special treat for fans of Manchester legends The Chameleons. The lyrics are more straightforward than most of Mark Burgess’ texts, but the pounding drums and beautifully chaotic bass and guitars stay with the listener long after the album ends with the subdued “Everything Will be Alright.” There is even a pretty, marvelously meandering love song with echoes and horns in the form of “Believe Me Natalie.” For various reasons, this ode recalls “A Letter to Elise” by The Cure.

On every track, Flowers sings with passion, sincerity, and high energy, making each song a fresh recording far from formulaic. Hot Fuss is a multi-faceted, consistently interesting and enjoyable synth-rock album with strengths across the songwriting, singing, and playing fields. The hooks are glorious and immediate, and the feet can’t stop moving. Missing out on The Killers’ debut album could be bad for your health.