Classic Albums Review: Hot Fuss

It is a shame that indie rock has gradually faded from the international music scene over the past several years. And while 2004 may not fall under some people’s definition of ‘classic,’ for this person any album of significance or which is more than ten years old can be considered ‘classic.’ Hence, Hot Fuss, The Killers’ debut album released in 2004, deserves the classification of ‘classic’ – at least in my opinion. Before you even listen to the music, you can tell just by the cover design what you are in for – thankfully the band delivers and successfully creates an auditory feeling that matches the style of its cover. Vibrant, a sense of bright surprise and ecstasy mixed in with the desolate, lonely solitary rooftop lights amidst a blank sky – all this emanates solely from the album cover.

In terms of lyrics, the album is kind of all over the place. At times you have more typical, relationship-oriented pop songs (“Somebody Told Me,” “Believe Me Natalie”), other times you have more sardonic/dark songs which are similar to The Smiths (“Jenny Was a Friend of Mine,” “Smile Like You Mean It”). Then you have the big ones: the ones which smack your chest with raw emotion which Brandon Flowers, the lead singer and keyboardist, masterfully delivers; you can’t help but sing along (“All These Things That I’ve Done,” “Everything Will Be Alright”). So, while the “girl songs” retain an infectious, catchy nature, The Killers really didn’t take that theme any farther in their lyrics. However, the sincerity, depth, and distinctive content of the other songs’ lyrics are worth plenty of praise.

The rest of the music, that is, the keyboard, bass, drums, and guitar, are also noteworthy for their distinct quality but manage to pull off the more simple style that is typical of many pop songs. Mark Stoermer, the bassist, blends a more traditional, timekeeper role while also achieving a melodic level which is remarkable. On “Jenny Was a Friend of Mine,” the album’s opening track, Stoermer’s exceptional bassline tops the performances of all the other band members, in my opinion. The same can be said for Dave Keuning, the band’s guitarist. On some songs he showcases a more simple, power chord-based style mixed with dazzling solos that only use a few different notes. But on songs like “Mr. Brightside” and “Smile Like You Mean It,” Keuning comes out swinging with brilliant chord melodies and lively solos which seem to say, ‘Hey, I know more than a few simple chords.’ With Ronnie Vannucci’s job on drums, there isn’t much to praise. Overall he does a pretty great job; he brings even more credence to the album’s vibrant tone and adds in a few extra punches in many of the songs. This is virtually the same with Flowers’ work on the keyboard. He’s no Ray Manzarek or Rick Wakeman, like Vannucci is no Buddy Rich or John Bonham. On certain tracks he hits the right notes and chords which whisk you away into the realm of auditory pleasure. But, for the most part the keyboard and its various effects only complement the album’s atmosphere and represent some characteristics of the new wave and indie rock genres.

If you take anything from this particular review, it’s that mediocrity, which in itself is not necessarily good, can nevertheless be part of an ambience which defines a work of art. Case and point: Hot Fuss is a fantastic album, for new wave fans, indie rock fans, and 21st century music fans alike. despite its occasional mediocrity. Whether that mediocrity is typical lyrics or less-than-superb instrumentals, you gotta appreciate how they help create the wonderful mood of the album overall. So, with that said, I once again send a recommendation to whomever reads this: check out Hot Fuss by The Killers, there’s bound to be something you love in there.