Linnethia Monique
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Post by Linnethia Monique on Sept 15, 2008 16:03:24 GMT -5
DIES!
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Post by Active Aggressive on Sept 15, 2008 22:35:49 GMT -5
If that's the cover, YES! But, it will probably be the back or an insert.
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Post by Active Aggressive on Sept 16, 2008 8:36:28 GMT -5
Brandon Flowers Talks Day & Age: Best Killers Disc Ever!!! September 15, 2008 3:12 PM
Photo: Torey Mundkowsky
The Killers announced today that their new disc, Day & Age, will be released on November 25th.
Last week we heard five of the 10 cuts slated for Day & Age and each one of them will blow your mind. The first single "Human" is destined to be a worldwide club hit. On "I Can't Stay" the Killers open up their sound, adding tenor sax and steel drums. And "Dustland Fairytale" is an epic — featuring characters like the "slick-chrome American prince" and "Cinderella" — that Flowers says he wrote about his parents.
A few mornings ago we met our buddy, Brandon Flowers, in a suite at New York's Rivington Hotel. Click more to read the transcript of our chat. "It's like looking at Sam's Town from Mars," Flowers says about the new disc.
So, what have you guys been up to?
Well, we were just in London. We were playing a bunch of festivals. Then we mixed—we finished mixing the album, almost, in London. Now we're here.
Let's go back to when the album started. I guess it was when you started working with Stuart Price on music that ended up on Sawdust…
He had done stuff, he had done remixes with us before but we had never met him until he was doing "Sweet Talk". And, you know, we did that Christmas thing with him, so that was good. We just liked him right away. I don't wanna fucking go get Eno right now. Not that we didn't attempt to in that past. [laughs]. But you know, you want that hunger that he must have had 30 years ago. And I feel like Stuart's that man.
What's Stuart like? Is he a nut?
He's kind of a weirdo.
In a good way, I presume.
Yeah. But he's quick, he's quick with ideas, and with our ideas, and it just made it a lot more fun. He's not afraid to say, you know, "that sucks," or "let's try something else," so it really kept it—kept it rolling.
So when did you write all this stuff?
It started on the road for Sam's Town, so, it's been goin' on for a couple years.
So hotel rooms, and that kind of shit.
Yeah. Doin' it on computers. And then we'd send it right to him, and pre-production would be going right away. So he's been going—he got more than he bargained for with this album. It's been going on for a while.
So at what point did you guys decide Stuart was your man?
Pretty early on.
Like, a year ago?
Yeah. When we met him, we were just having dinner with him in London about what he was doing for us at Sawdust, helping us with Sawdust. So I just said, "What are you doing after dinner?" He said he was free, and we went to his house -- he has a studio there -- and we recorded "Human." We just knew that it just sounded so good—it was only a couple hours we spent, and it wasn't much different that it is now.
So why didn't "Human" end up going on Sawdust?
It was too good.
So, if Sam's Town is about Vegas, what is this one about?
For me it's definitely a continuation. On this one I was thinking more universal. Like, when Morrissey was singing about Manchester, I thought, "I got it." [laughs]. I don't know. Maybe I didn't. I feel like that's the duty, I guess. You're supposed to represent where you're from, and—I'm trying to figure out what that is— I don't know how to do it. I don't know.
Is it about spending so much time away from home?
Yeah, I said it's like looking at Sam's Town from Mars. It still always goes back to Vegas but it's, yeah, it's definitely maybe, maybe from an outsiders perspective…
Of missing your home town?
Yeah…that's always in there. I have a romantic notion of what America, and Nevada and the Wild West— about what it is. And, I'm tryin' to hold on.
Generally, how have you been doing the last couple of years? You have a new family.
Yeah, it's crazy. The boy's walking around. It happens quick. It's exciting, you know. I've always been around kids; I have 19 nieces and nephews.
Okay!
Nineteen. So it's always. I love him more than my nieces and nephews—not that I don't love them, you know, but it's cool. But I felt like I was more accustomed to kids than my wife. She comes from a small family, but she's doing fantastic.
Do they travel with you?
They travel, yeah. It's hard, though. The baby's got more stuff than I have. So it's hard loading it in and out everyday.
And your fellow Killers… Everything is good? You guys are getting along?
Yeah. I thought we got along really well on Sam's Town, better than we did on Hot Fuss, so. Hopefully we're going in the right direction. Maybe it's—we have a little bit more space, now, with the luxury of having success, I guess. With Hot Fuss you're sharing bedrooms, and…so there's a little more space. We don't have our own busses yet or anything, but it's nice. It's been good.
So, you meet up with Stuart Price, at his studio at home after dinner, and you do "Human." Then what?
Then we just start sending him ideas, from all over the place. So we sent him "Spaceman" from Panama, and then some stuff was from Australia, so it was cool—just being able to send it over. And he'd work on it right away. He's just—like I said, he's just got that drive.
You're sending him digital files?
Yeah, like Logic, or Garage Band. It's almost like Pro Tools or something. I mean it wasn't the best sounds, but you would get the gist of it. And then by the time we got home Ronnie had learned how to use Logic, and so did Mark, and so they were doing stuff and then sending it to him from their house. It's a really weird way to work. Wasn't that we didn't want to be around each other, it's just that we were home, and Ronnie, say, would have an idea, send it to Stuart, Stuart would shine it up, send it to me, and I'd sing at it, at my house, and send it back. It was a little weird.
So, and what is Stuart doing to it? He's just shining it up?
Yeah, and he's—he's not afraid to put out ideas, and you know at first that was hard to get used to. But I mean some of them we kept, and you know, we almost treated him like a fifth member.
So, for instance, on "Human," what did he add to that? Obviously it has kind of a Euro-pop feel to it.
The landscapes —that would be more Stuart. We'd do the meat and potatoes, and he adds the galaxy.
Right. So when you hear what he's done with " Human," are you like, "Wow this is incredible," or are you hesitant?
I was really excited. That one took a little coaxing for the other guys. Everybody's got their fingerprints on it now, but at first it sounded a little maybe too dance.
What's "Human" about?
I think we were at a weird festival in Germany. I was just trying to have it be a simple tune, with classic chord changes. The way I described it to Stuart was -- I remember saying this to him at dinner -- "I got this thing, it's like Johnny Cash meets the Pet Shop Boys. Let's go record it."
And you guys have a new studio in Vegas?
Yeah, we just got it. It's really close to the Palms, actually [where the Killers recorded Sam's Town].
Thank god! You gotta be close to the Palms!
[Laughs]
It's about three minutes. It's basically right there in the hotel area. It's been a studio for years but we didn't even know about it. It was kinda--people would use it for like productions stuff. Hotels would use it for like plays or whatever that was going on—Cirque de Soleil.
Like live recordings?
I don't know. That's all we know. And so its, uh—Its got a great live room. And, it's big. It's a pretty big place. It doesn't look like much on the outside but when you go in its pretty cool. We were really happy to find it.
And you guys were rehearsing for a couple months and then Stuart comes in and you guys just knock it out?
Yeah. We had 19 that we were gonna record. And then there's quite a bit that we threw away. Yeah, so…fuck. It's hard to finish the lyrics and then you gotta worry about "iTunes wants bonus songs" and "Japan gets an extra song." By the time you're done its like two albums. I'm still not done with a lyric. I've still got one song that needs lyrics for the album.
Right. So, what should we say about the other Killers stepping up on this record? I heard five songs and it's definitely the best shit you've ever done.
Yeah I feel like it is. I think it was like that freedom that Stuart gives you to just--If you want to try something—to nobody was afraid to try it. We brought in a sax player. Tommy, he's our buddy. He's probably going to come on the road with us. And Ronnie brought in his buddy—this Cuban guy, that's a percussionist. We all just kind of said, you know, fuck it. You know, people laugh at sax solos. We just said, fuck it.
I live for sax solos.
There's a couple on this album. It was just like… we just went with it.
Right. So the saxophonist is your friend Tommy.
Tommy Max. He's a Vegas character.
Who did all the strings? Are you playing all the strings on synth?
Yeah. Me and Stuart did all the strings. We were gonna have—we planned to get together an orchestra and do it later, but it sounds so good that we just left it alone.
And what's the other sax song?
There's one called "Joy Ride" that's got nice sax moment.
Another solo?
Yeah!
Sweet. And you got steel drums? Who did that?
The steel drums are fake.
What about this song "Dustland Fairytale?" Can you tell me about that?
It started off just kind of ripping off "Waiting for the Man." I guess it's the most like Sam's Town on the album.
What's your favorite song on the record right now?
That one. It goes between that one and "I Can't Stay." But you gotta hear "Joy Ride." We just finished it a couple of days ago.
Why's the album called Day & Age?
I don't know. You wait for moments. I just wait for it come, and I knew that that was right when I had it.
Is that lyric in a song?
Yeah, it's in two songs.
It's in "Neon Tiger" and "The World We Live In."
So how many songs are on the record?
Ten. When does the Kings of Leon record come out?
I don't know. End of September?
That single is good.
"Sex on Fire" -- yeah.
The verses are so good.
What else are you listening to?
Lou Reed. We were listening to Berlin a lot, me and Mark., when we were making the record. What else? E.L.O. wouldn't go away.
Can you tell me like about writing some of these songs. Are you writing in the middle of the night after shows?
Yeah that's where it started—after shows. And then about half of it was done at home. So it's kind of all over the place. Some were at the piano at home. Some were jams. Some were on the road.
When you were writing these songs were you homesick, or depressed?
No. (laughs)
Not that they sound depressed, but I was just curious.
No, it's cool. I always feel like there's something wrong with me because I don't have some dire some sort of awful outlook on life. It seams like you're not allowed to—like it must not be real or it must not be good if you are happy to be here. And I'm very happy to be here. I love having a body that's fully functioning. I love traveling and getting this opportunity.
Are any of these songs about kind of specific things in your life? Are any of these songs about your baby boy or your wife?
Yeah, I mean there's a couple lines in there. There's one in "I Can't Stay." But yeah, the one that I just—specifically about my mom and dad is "The Dustland Fairtytale."
Nice. What's the touring plan?
We're going to go out October, November, December, just do TV and a couple of gigs here and there. We're going to come to New York on October 26th, I think. And then January will really kick off though the touring.
And so, are there going to be six people on stage now?
Six. Tommy and Ray. Ray is the new Ted, who went off to do his own thing. So Ray, played with Louis XIV. He was their Ted. And uh, he quit with them and he's with us now. We didn't steal him or anything. No bad blood.
Good. And he's playing keyboards and the occasional guitar?
Keyboards and guitar. So we'll have him and Tommy.
And everyone involved is psyched about Day & Age?
So far it's been a pretty good response. Yeah, Ronnie says if we never make another album, he's happy. I don't know how to take that.
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Active Aggressive
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Post by Active Aggressive on Sept 16, 2008 8:39:24 GMT -5
So, that was from Rolling Stone. I wasn't prepared to start my day with such a full-length description of the album. 10 songs is pretty solid...their shortest but if they are all excellent, I can deal. I have a feeling they will be. I had no idea Stuart did Sweet Talk (one of my favorites of theirs) but I don't know which Christmas song he did. I am going to guess Don't Shoot Me, Santa, since it was more recent. I love that song. As for the sax...well, they used sax in Bones and it was brilliant. I wish there were real strings but as long as it sounds dreamy as string-laden songs often do, I don't really care for authenticity. I can't wait to hear Human now. It sounds fun! KILLERS!!! OMFGPBJ!
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Post by floridita727 on Sept 16, 2008 10:23:03 GMT -5
Now I'm looking even more foward to November! I'm wondering/hoping/praying they'll start a cross country tour in January. Thanks for that awesome artilce :)
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Post by mrjedi on Sept 16, 2008 15:24:15 GMT -5
OMG, I cannot WAIT for this album!!!
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Post by aTunes on Sept 16, 2008 16:57:48 GMT -5
I've got a feeling about this one. I haven't heard anything, but I just have the feeling this could be The Killers masterpiece of their career. Can't wait!
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Post by Active Aggressive on Sept 16, 2008 21:04:22 GMT -5
Yeah, I could tell that even when I heard SpaceMan and Neon Tiger!
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someguy
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Post by someguy on Sept 17, 2008 14:54:37 GMT -5
I'm very much looking forward to this album. Probably my most anticipated album of the year still to come (well, either this or Pink's).
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Active Aggressive
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Post by Active Aggressive on Sept 22, 2008 12:35:30 GMT -5
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Mic Technique
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Post by Mic Technique on Sept 22, 2008 13:08:41 GMT -5
So, yes, "Human" is out. It's interesting and maybe even good. Someone may have pointed this out but it sure does sound like Republic-age New Order.
I've always held a place in my heart for the Killers. Not an extraordinary group, by any means, but they keep me coming back for more.
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oscillations.
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Post by oscillations. on Sept 22, 2008 13:16:20 GMT -5
can someone send me a link? I'm actually eager to hear this.
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Post by mrjedi on Sept 22, 2008 14:39:09 GMT -5
LOVE, LOVE the single!!! Melodic, anthemic...just really enjoying this!!
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Post by WotUNeed on Sept 22, 2008 15:54:21 GMT -5
Someone may have pointed this out but it sure does sound like Republic-age New Order. Someone else did in I forget which single thread, but I'm just not hearing it. I think part of why it let me down a bit is that I saw this comparison.
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Post by Deleted on Sept 22, 2008 15:55:34 GMT -5
I get Pet Shop Boys vibes.
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Nevermind
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Post by Nevermind on Sept 22, 2008 16:03:35 GMT -5
Well Brandon Flowers described “Human” as “like Johnny Cash meets the Pet Shop Boys.”
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WotUNeed
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Post by WotUNeed on Sept 22, 2008 16:18:34 GMT -5
Well Brandon Flowers described “Human” as “like Johnny Cash meets the Pet Shop Boys.” My personal attempt at a comparison was Peter Murphy singing "Pop Goes the World" by Men Without Hats, but Flowers's works better.
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Coin-Operated [Boy]
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Post by Coin-Operated [Boy] on Sept 23, 2008 6:58:59 GMT -5
“Human” as “like Johnny Cash meets the Pet Shop Boys.” That's a good way of putting it.
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Post by Active Aggressive on Sept 23, 2008 12:20:45 GMT -5
Brandon is a flippin genius. I love this dance-y version of Read My Mind, which is the best Killers song yet!
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Post by Taylor. on Sept 27, 2008 22:56:43 GMT -5
They're on SNL next week.
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Post by Active Aggressive on Sept 29, 2008 10:31:50 GMT -5
Wow. That's pretty early promo for the album, no? Unless it's just for the single...
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roentgenizdat
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Post by roentgenizdat on Oct 2, 2008 12:06:33 GMT -5
The Killers Keep Dancing On New Album October 02, 2008 , 12:10 PM ET Jonathan Cohen, N.Y. After a detour into earnest arena rock on 2006's "Sam's Town," the Killers are back firmly on the dance floor with the Stuart Price-produced "Day & Age," due Nov. 25 via Island. The club-ready first single "Human" debuts this week at No. 13 on Billboard's Modern Rock chart. Opener "Losing Touch" sets the template, with a David Bowie-inspired groove and buzzing horns. Frontman Brandon Flowers' lyrics remain inscrutable: "The legend grows of you got lost but you made your way back home / You sold your soul like a Roman vagabond." Later, the Killers test out Duran Duran-style white funk on "Joyride," replete with a saxophone solo. Sax, steel drum, harp and acoustic guitar form an exceedingly unusual instrumental bed on "I Can't Stay," while "Spaceman" is a full-throttle new wave rocker with shades of Queen. "Day & Age" concludes with the dark, bombastic epic "Goodnight, Travel Well," which runs almost seven minutes. The Killers will perform "Human" this weekend on NBC's "Saturday Night Live." The group will also play a handful of shows in the coming weeks, beginning Oct. 20 in its Las Vegas hometown and wrapping Nov. 3 in London. Here is the track list for "Day & Age": "Losing Touch" "Human" "Spaceman" "Joyride" "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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Post by Active Aggressive on Oct 3, 2008 12:07:39 GMT -5
10 songs. I want MORE KILLERS! But, there will be probably be Itunes exclusives.
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Linnethia Monique
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Post by Linnethia Monique on Oct 3, 2008 12:49:50 GMT -5
This songs are probably 4-5+ minutes long so I'm happy. This is one of my most anticipated albums so far. Human is getting constant play from me daily.
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Young Money
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Post by Young Money on Oct 4, 2008 23:50:17 GMT -5
They are on SNL right now.
Performing some song...I have no idea what it is.
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Young Money
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Post by Young Money on Oct 4, 2008 23:52:23 GMT -5
The song is Spaceman.
They performed Human earlier.
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Post by Active Aggressive on Oct 6, 2008 13:27:32 GMT -5
Inspiration has never eluded Las Vegas' The Killers, and it's a damn good thing it hasn't, because their newest record, their third studio album entitled Day & Age, is full of their finest songs to date. "I think about moments when we were coming up with 'When You Were Young,' or, in this case, 'Spaceman,'" Flowers says. "If we'd decided at that moment, 'Let's go to the park,' they might not have happened. It's scary. It almost makes me not want to stop because I could be missing out on these wonderful songs. They're out there for the taking--you've just got to grab them." Together with bassist Mark Stoermer, guitarist Dave Keuning, and drummer Ronnie Vannucci, Flowers helped to mold the album into 10 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. But at the same time, Day and Age is totally different from both of them, while still sounding like us. It's kind of looking at Sam's Town from Mars."
Those familiar with the band's oeuvre will recognize their signature in the synth-heavy "Human," four minutes of sweeping, epic rock, on which Flowers sings: "My sign is vital/ My hands are cold/ And I'm on knees, looking for the answer/ Are we human, or are we dancer?" He says the lyrics were inspired by a disparaging comment made by Hunter S. Thompson about how America was raising a generation of dancers. But the song also had some help from album producer Stuart Price (aka Jacques LuCont), known for his work with Madonna and Missy Elliot, and who'd previously remixed "Mr. Brightside." "He was the icing on the cake," says Stoermer.
"We had just put 'Human' together, and we wound up shooting over to his house after dinner [in London]," Flowers recalls of his first time in the studio with Price. "A few hours later, we had something very close to what you hear now. I was on cloud nine." He continues: "When we walked into his flat, the first thing I saw was picture of the cover of The Man Who Sold the World, and further down the stairs there was a picture of Eno in his Roxy Music days. I just kind of felt that we'd found our man."
That he'd find comfort in the signifiers of those artists shouldn't come as a surprise: The band's made no secret of their admiration for both art-rock and stadium giants (collaborating with the likes of Lou Reed, who guested on "Tranquilize," a single from Sawdust, 2007's collection of B-sides, rarities, and new songs). Formed in Las Vegas in 2002, the band belongs to the lineage of high-energy rock bands that manage to be both commercially successful and critically acclaimed (both of their studio albums have received endless column inches bursting with praise), and it's almost mind-blowing to consider that without the classifieds section of a local paper, they might have never been.
Flowers first met guitarist Keuning while perusing said classifieds for fellow musicians; when Dave's ad mentioned The Beatles, Oasis and more, Flowers knew he was on the right track. They claimed the name The Killers (taken from the bass drum of a fictional band in a New Order video), and eventually recruited Stoermer and Vannucci into the fold, all of them agreeing that there seemed to be an intangible something to the music they were making, as well as the response they were generating from people who saw them play. And as these performances became bigger and bigger, and praise for the band began to spread rapidly, A&R men came from the UK and the US to see them, eventually leading them to sign with Island Records in America. Their debut, Hot Fuss, catapulted them onto the global stage upon its 2004 release, selling millions of copies around the world. The band toured for two years straight behind Hot Fuss, playing more than four-hundred shows, and eventually returned to Vegas to begin to work on the follow-up album with legendary producers Alan Moulder and Flood. The result, a love letter of sorts to their hometown entitled Sam's Town, was released in 2006 and spent forty-two weeks on the Billboard Top 200. In between all of this, the band managed to fit in two appearances on Saturday Night live, in addition to performances on The Tonight Show, The Late Show with David Letterman and more. One might think this would produce a generous amount of pressure as the band began to work on their newest collection of songs, but this was not the case. "We're confident together, comfortable with the way we work as a live band," Stoermer says. "So when we were writing this record, there was less anxiety, not that we're resting on our laurels."
This comfort in their work together is apparent on Day & Age. The album sees The Killers experimenting with different instruments: "I Can't Stay" has a tropical sound--thank the saxophone and steel drums--and, as the singer says, "could be the most perfect pop song we've ever written." "Losing Touch," meanwhile, is a gorgeous uptempo track with bright horns and grim lyrics ("impending doom, it must be true/ I'm losing touch") that lend it an ominous vibe. "Spaceman," an unabashedly arena-sized glam-rock number whose associative lyrics reference, among other themes, alien abduction. ("We've been playing it between 'Read My Mind' and 'Mr. Brightside,' and it feels like it's been there forever," Flowers says.) More than anything, The Killers are excited for their fans to hear what they've been creating, though, says Stoermer, "We're always a little nervous about whether people are going to like it."
The people have in the past. Besides the sales figures--including moving 4.4 million units of Sam's Town abroad--the band has received seven nods from the Grammys, and won a variety of MTV, BRIT, and NME awards. They've headlined some of the biggest festivals in the UK and Europe, including Glastonbury, the Reading and Leeds Festival and Pukkelpop, and have sold out prestigious venues such as Madison Square Garden in America. The attention has, at times, made it difficult for them to keep their composure, but this time out the band is trying to remain more level-headed.
"We got thrown up to the position very quickly that we're in now --the test is to retain it," says Flowers. "I want us to be a positive force. People think that we're overconfident and cocky, but it comes from excitement. It's not 'I'm better than you,' it's that I can't wait till you hear this song because I know what it does to me physically. I'm able to listen to our songs and not think 'this is us playing,' I'm able to allow the music to affect me and I know if it's good or not. Sometimes people think I'm running my mouth, when I'm truly excited."
This is from Amazon. More exciting news and interesting info...also, I think it's time to put that "Dancer" vs. "Denser" debate to rest, finally...
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Post by Active Aggressive on Oct 6, 2008 14:31:50 GMT -5
Has anyone heard Bobby Jean by Bruce Springsteen. I am guessing there is going to be something like that on this album, with the sax (even though Bones had sax as well). I am also thinking Young Americans by Bowie but faster, based on the vibe I am getting from some of those other songs...
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roentgenizdat
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Post by roentgenizdat on Oct 9, 2008 13:40:42 GMT -5
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Post by musicaddict on Oct 9, 2008 14:25:45 GMT -5
Really like the cover
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