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|  | GOOD TEST FOR THE KILLERSS
This time, quoting Las Vegas, casino or tables of texas hold'ems won't come to mind. Our attention is all for the exit of "Day & Age", last disk of the Killerses of Brandon Flowers, native, note, of the city of Nevada. After two years of absence and a last album, "Sam's Town", not certain epocale, the American band from the British soul has given birth to an interesting job.
The anglophile love of the Killerses is famous and tells her/it long the fact that, after having realized "Hot Fuss" (to said of many one of the good Brit-pop disks of the last 20 years), you/they have tried to encore the success with an album in great Rock-American style, calling Anton Corbijn to make to be photographed as of the desperate existentialists with the cowboy hats, with attached moustaches and uncultivated beard. To see serves her/it as teen-ager of Flowers "dirtied" from the pizzetto and from almost unreal sideboardses, you/he/she will have made to come the ulcer to more than few fanses. You adds the fact that, except that for few traces and the splendid one "When You Were Young", Sam's Town, has been a half disappointment. The fundamental point has been the little conviction of the American public, that the band wanted so much to court.
And then street. You/he/she has returned to that style that old Europe had loved and idolized. "Day & Age" you/he/she could not fail and it would seem really that has not done him. Produced by the British and lover of the dance back, Stuart Price, the album shines of brightness from study, full of voices clear and echoing, spatial synthesizers, bossanova battery and very more saxophone than you could wait you. In short, a disk from the almost innovative rhythms and not surely discounted, that would be able however to vaguely remember melodies to the Bowie or to the Pet Shop Boys. The single one that has anticipated the album, "Human", it is a result shakerata of dance years '90 and new wave years '80, that it seems to recall somehow some remix of old registered songs U2. The disk, opens with "Losing Touch", song groove to the Bowie, with sudden changes of keyboard and the delicate voice of Flowers that it makes the all very pleasant to the listening. You passes therefore to "Spaceman" and the rhythm does him more frantic, for then to flow in "Joy Ride", a melody that he/she immediately takes you, real homage to the sounds funky of two decades ago characterized by a sensual beat, propped by a sax to the Rolling Stones and from guitars that the correct lilt they dictate to the whole contour. "To Dustland Fairytale" it has a beginning from real ballad, for then to bossily grow in a great narrative scenery supported by an exciting sound.
Almost tribal choirs accompany "This is your Life" and the atmosphere does him of bewitching hit, remembering for an instant sonority that only "Hot Fuss" you/he/she could give. And we arrive to "The can'ts stay", very particular song that seems not to find one precise position of his, but that it refers him to unlikely Caribbean rhythms. Perhaps the only note some false of a disk stamped in a well precise direction.
The time goes by with the simple but effective one "Neon Tiger", for then to pass to the relaxing refrains of "The world we live in" and to conclude with the restlessness of "Goodnight Travel Well", song of 7 minutes around, perhaps a pò too forced by a complaining vocalità in style Robert Smith just thrown down by the bed. The Killerses are taken back the peak of the charts and they do him/it with an album that a correct continuation of the first and inimitable Hot Fuss judges. We concern there to the facts. And these say that the Killerses have sold million of disks in as soon as three albums and that the tour that is about to depart has already recorded numerous sold out all over the world still before the exit of the disk.
If this had to not be enough, perhaps it is the case that someone starts to think about changing mestiere.e we don't report there of certain to Brandon Flowers.
Alexander Setaro
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