80s Disco

Week 50: the Killers- Rebel Diamonds

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A mixture of brief and long track-by-track reviews:

Jenny Was a Friend of Mine:

Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.

Mr Brightside:

THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.

All These Things That I’ve Done:

Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’. 

Somebody Told Me:

Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.

When You Were Young:

The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.

Read My Mind:

Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’

Human:

I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.

Spaceman:

It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.

A Dustland Fairytale:

It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.

Be Still:

An unimpressive ballad.

Runaways:

This track is Bruce Springsteen-esque.

the Man:

I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).

Caution:

Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.

My Own Soul’s Warning:

It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity? 

Dying Breed:

Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.

Pressure Machine:

This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.

Quiet Town:

A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.

Boy:

Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.

Your Side of Town:

Quintessentially the Killers.

Spirit:

The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound. 

Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’

8/10

Week 15: Ellie Goulding- Higher than Heaven

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Much criticism was given over her last “Brightest Blue” in 2020, with quite a few critics saying the album lacked excitement. I cannot remember what I said, but in all fairness, it was recorded during the lockdown, so if the record was more downtempo, then it is easy to understand why. This time Ellie has decided to bring more uplifting dance-like music. The album is full of synthesisers and thumping basslines. The record doesn’t give you time to settle because it is more like going to a club, and the DJ playing song after song that makes you not want to leave the dance floor. ‘Love Goes on’ is the only mid-tempo track, but even that still has some energy.

The album begins with ‘Midnight Dreams’ to start the disco-themed adventure and is followed by ‘Cure for Love’, a song about breaking up in a relationship with an infectious chorus. The title track shows off the best of Ellie’s vocals so far in her career. She then goes into that 80s disco, which has been used by the Weeknd of late on ‘Like a Savior’ and ‘Let it Die’. You will see what I mean by hearing them and the dirty deep bass on both.

What is a shame, but probably understandable on the record, given its disco and uplifting instrumentals, is that Ellie focuses less on her brilliant songwriting. Her vocals also need more energy on ‘By the End of the Night’. The record also ends with the trap beat inspired ‘How Long’, which seems totally out of place with the rest of the instrumentation that comes before it. I wonder why that happened. Ellie may be teasing her next album sound.

Regardless of the lack of songwriting and the peculiar addition of ending with trap, the album mostly doesn’t lack energy and is uplifting and fun to listen to. You feel alive and get this sense of being on that dance floor in the club. Also, what a way to shut your critics up who lambasted her last album.

Song recommendations: ‘Midnight Dreams’, ‘Like a Savior’, ‘Higher than Heaven’

8/10

Week Fifteen: Dua Lipa- Future Nostalgia

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Dua Lipa

Here is a track-by-track review of Dua Lipa’s second album:

Future Nostalgia:

This is the title track that blends rap with pop. This track was only thought of after the record was already named.

Don’t Start Now:

This track has been dubbed the best of her works since “Be the One” off her self-titled debut album in 2017. This disco-pop song shows she will not rest on her laurels and is looking to aim higher. It also just keeps getting better after every listen.

Cool:

Dua is trying her hand at the 80s, and this track is aptly named. It reminded me of what the Weeknd has done with his latest album. The 80s disco is well in at the moment.

Physical:

I should probably look at the singles released off this record, but I have heard that this track is a massive hit among her fans, and they find that this pop song stands out on “Future Nostalgia”. It has got plenty of attitude, suggestive lyrics and synths with a drum beat that will send shock waves through your body.

Levitating:

It’s another disco track that feels like it belongs on the album. It’s much slower than “Physical” and much more laid back. The song is surrounded by synths, a typical dance beat and some very teasing vocals. There’s even some swearing in this track um hahahahaha. Snowflakes will recoil in horror. Awww.

Pretty Please:

From going full throttle with her vocals on most of the record, Dua eases off on this track, but that doesn’t take away from the fact it is a great song.

Hallucinate:

Some may disagree, but this track fits the house genre. When the drop happens, you have the typical house pulse and the iconic bassline. And why wouldn’t it be? It is produced by SG Lewis, who is known for his work, not only as a singer but for his productions in house, deep house, drum n bass and techno and being a DJ within those genres. It’s certainly a surprise at this point because there has yet to be a song so far that fits into club-based. I see this being a potential single and being played out in the clubs (when they finally reopen.). It would fit in very nicely into a Carl Cox, Mad Fingers, Anne Savage, Lottie or Fatboy Slim set. The lyrics even talk about meeting someone on the dance floor. You can’t get more apt for the club environment than that.

Love Again:

We now come to the longest song on the album, and there’s a very recognisable sample. It was also No.1 in November 1996 and was played to death. Wiley has also sampled it. It is White Town’s “Your Woman”. Although the sample is the strings of the chorus, it cuts into a dance track. It works, though and deems this song a success.

Break My Heart:

Her latest single, which again follows the disco path, includes an Australian band INXS sample. It is quintessentially pop, rising and falling, complete with a bridge and chorus. There’s a very poignant lyric in there regarding the current situation the world is in. Now, it’s without question she wrote the lyrics ages before the lockdown, but the verse is “I should have stayed at home”.

 

Good in Bed:

Haha, what a name for a song and if you can’t work out the suggestive lyrics, then there really is no hope for you. It is as clear as day. This is an early Kate Nash song with Dua’s own style added. It is also the only track with a comedic element on the record.

Boys will be Boys:

It’s pretty odd that as we approach the album’s end, the tracks have changed direction and become more risqué. While surrounded by strings, Dua talks about the opposite sex but still manages to keep it in line with the record’s narrative. It’s more of a dig about the inequality that still exists. It’s typical for Dua if I am honest with you, she is never too shy to give her opinions on anything, especially this subject.

Overall review:

I may be wired differently from everybody who listens to her songs, but although the album is very good, my standouts are not among the favourites with her fans. I preferred “Hallucinate” because it is house music and very suitable to include in a set at a club, and “Love Again” for its White Town sample, but then kicks into a dance track. What I like about the album is that this is a very different pop angle and gives a nod to the 80s. Not to mention, you have a house track, so Dua is bringing the dance scene back into the mainstream because, let’s face it, it has been gone for a very long time; it’s mainly sing-a-long, happy clappy shite. With this and the Weeknd’s latest record, we now see the pop charts changing yet again, bringing back the dance and club element. Will this album stand the test of time? Well, that all depends on her fans. I will not get all nostalgic and listen to this record in twenty years. I was really shocked when she wasn’t No.1 in the first week because this, by far, a much better

album than “C A L M”. 7/10

Week Thirty-Nine: the Killers- Wonderful Wonderful

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The_Killers_-_Wonderful_Wonderful

In the News Musical Express, I once read that frontman Brandon Flowers spent most of his time apologising for the last album. So, was there an improvement from the 2012 record, “Battle Born” (I actually didn’t find it all that bad.)? To be blunt, yes, there was.

This record has gone more diverse with its sound, akin to upbeat indie, psychedelic and country. If I were to draw comparisons, Arctic Monkeys, Tame Impala, and Mumford and Sons have inspired them. It will certainly be a shock to the system for the avid followers of the band and may turn them off their music. If it does, then you’re just ignorant and close-minded to the fact that with music or any art, you are free to express yourself in any way you wish. So, I tell the avid followers to listen with an open mind. There’s quite a bit of a 1980s touch to the album, and it is choc full of great tracks that are uplifting despite it being only ten tracks long.

“the Man” was the first single to tease the new record that is the second track in. I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music in the 80’s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have definitely liked it, then.). Bad start to the album? Well, it’s 50/50, as I quite liked the title track.

My favourite track off the record for me has to be “Some Kind of Love”. This slow-paced track grabs your attention from the very first listen. The track sent me into a zen-like state with high-pitched backing vocals and Brandon’s soft vocals that allow you to take a break from reality and enter into another realm with nothing but peace and harmony.

The next standout track on the record was the track that followed, “Some Kind of Love”, titled “Out of My Mind”. Brandon actually wrote that track for his wife Tana, who suffers from anxiety and depression that led her to be diagnosed two years before this record was released, with post-traumatic stress disorder that was the result of her tough time growing up as a child. Already, you can tell this track is very emotionally charged, and Brandon certainly delivers that 

with heartfelt vocals. 

Most of this album has tracks that mention the emotions Brandon was experiencing in 2015 when he came off his solo tour to look after his wife. He stated that he found it extremely difficult to talk about her condition on the record but that it felt very powerful and helped him through a difficult time for both of them. Brandon even name-drops on this track about encounters with Paul McCartney about how the Killers met him at New Year’s Eve party, and he was too overcome with emotion to speak to Paul’s daughter, Stella, who was filming this gig. Then, he mentions how he tried to impress his wife when he met Bruce Springsteen, but all she was interested in was that she wanted him to be a good person and the ideal husband.

Overall: I loved that the album touched on the issue of mental health hidden behind an array of music genres and that Brandon let all his emotions flood out at a challenging time. I also found it extremely sweet that he practically dedicated an album to his wife, and although I didn’t like “the Man”, he pretty much conveys the message that he is the only one for her and will stand up and be counted. I’m sure Tana was very touched by “Wonderful Wonderful”. As I said previously, I didn’t think the previous album, “Battle Born”, was as bad as Brandon makes out, but this record eclipsed that easily with its raw emotion and touching on a subject that is a long way off losing the stigmatisation that envelopes it. Not only is it a great album, but it raises further awareness about mental health. With music’s power, the message certainly won’t be disregarded. 8/10