the killers, along with there friends franz ferdinand, have come to save pop music with their infectious 80's inspired foot stomping dance rock. atleast thats what most critics and fans of the two bands would have you believe. it may come as news to many of my generation that wailing synth lines and high hat chinks on every downbeat were not discovered by the killers, although they do make good use of both of these techniques. that being said, i must admit that the first six songs of the album are painfully close to reaching pop-rock perfection. smile like you mean its haunting synth lines and morrisey-esque lyrics make for a great single, and somebody told me firmly places the killers at the top of the "bands that ooze style" list, next to the strokes and the kings of leon. perhaps the finest moment of the cd occurs in the first minute of all these things ive done, when the listener cant help but think that if bono and the edge were 20-somethings from nevada, dressed in girls jeans and blazers, this would be their "where the streets have no name". despire the obvious merits of this record, the listener is left with the distinct feeling that this band is capable of so much more. the hot fuss is the type of record you listen to non-stop the first week you own it, and then quickly discard it in favor of your fever to tell's and slanted and enchanteds. on pure poprock goodness and potential for rocking, this is a five star album. on my scale however, i give it three stars, simply becuase i think this band is capable of much more in the future.
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