2023-08-29 13:01:15
And suddenly it is Your Side of Town but no longer the second single with which The Killers get in the mood for their eighth studio, but possibly much more the last look back at a band that no longer exists.
Barely a week ago it still seemed clear where the Killers would make their next stop: “With much excitement we present to you Your Side of Town. It’s got the ghosts of a lot of the synth music that inspired us over the years. And yet, somehow, feels completely our own.It was said in the run-up to the band’s second single since Pressure Machine from the previous year – which would position 2022’s album as a solitary excursion stylistically, with upcoming studio material set to follow up on the Las Vegas group’s 2017 effort.
Because they went on to say: “Eight would probably relate more to six. Eight would be not cutting room floor or orphan songs from Imploding The Mirage, but it would be picking up from where that left off. We have some songs that are done and just belong on another album. They didn’t belong on Imploding The Mirage, and they certainly don’t belong on Pressure Machine. But they have a home and we’re starting to see the architecture of number eight form a little bit. We’ve had a couple writing sessions and some recording and some get togethers with Mark and Dave. That’s sort of our next mission, to complete that. We have some songs that we’re really excited regarding, that are more traditional Killers songs.“
In fact, the recently produced by Stuart Price and Shawn Everett closes Your Side of Town right in Boy that with its obvious A Little Respect-Interpolarization and ethereal synths cultivated the catchy New Wave danceability: as if Daft Punk in the 80s the Pet Shop Boys sent west to advance New Orders True Faith to bow, the autotune essay sounds in the chorus of Your Side of Towna bit like Julian Casablancas had his sanity Voidz cleared up for a damn catchy to potential synth hit with one foot on the dance floor.
While it doesn’t reach the heights of the best songs on the band’s most recent three studio albums, it has a tasteful quality and accomplished competence that one would expect Killers wouldn’t have believed it a decade ago.
And just when it seems proven that Brandon Flowers and Co. ( once more) have it down with the format radio favors suitable for the masses, the frontman pulls the plug without further ado: “Halfway through recording I realized I can’t do this. I don’t think you’ll see us making this type of music any more. This is the crisis I’m in. The Killers are my identity and our songs fill the seats, but I’m more fulfilled making music like Pressure Machine. I found a side of myself writing it that was strong. This was the guy I’d been looking for! I’m as proud of Hot Fuss as you can be for something you did when you were 20, but I’m not 20. So I’m thinking regarding the next phase of my life.”
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