Battle Born
The Las Vegas Anglophiles headed by Brandon Flowers return with a vengeance on *Battle Born*. With songs that recall the glamour and glitter of their synth-dappled debut—but with the epic, organic quality that made the follow-ups *Sam\'s Town* and *Day & Age* so successful—The Killers have crafted something truly unique. \"Flesh and Bone\" is a pulsating, triumphant opening cut set to a mixture of dance-floor thump and guitar. \"Runaways\" is something else: a huge anthem that sounds like it was recorded by the combined forces of \'80s-era Tom Petty and David Bowie. All in all, this is gigantic, cry-your-eyes-out alt-pop with a real soul peeping out from under the synth pulses and waves of post-production
What has the world come to expect of The Killers, now that Brandon Flowers and his desert-glam comrades have entered their second decade as a band and issued album No. 4? It’s safe to assume that fans don’t want them to change all that much, and the haters will just keep hating, so with Battle Born—a Nevada slogan, as…
Don’t underestimate The Killers, a multi-platinum American band who functions as a synthesizer like LCD Soundsystem or DJ…
The great open secret about the Killers is that they only make sense when they operate on a grand scale.
The Killers have left the disco element behind for their new album – only to replace it with Disneyesque pomp, writes <strong>Hermione Hoby</strong>
Battle Born is as non-committal as a swing state, and hearkens back to an era predating any of the band members’ being of voting age.
With stagey soundscapes more Meat Loaf than Springsteen and lines overloaded with postcard imagery, you struggle to find the energy till the third or fourth listen, writes<strong> Kate Mossman</strong>
Brandon Flowers gets back to his rock roots with his old bunch. CD review by Bruce Dessau