"Sawdust" (2008) may be the latest album from the Killers, but it has certainly been a long time in the making. A collection of new songs, covers and b-sides, "Sawdust" is alternately fresh and vintage and always an invigorating blend of glam synth-pop and tumbleweed-twanged indie rock. Fans of the Killers' first album "Hot Fuss" (2004) are not denied their taste for driving dance rock and arena-ready power-choruses. Fans of the band's sophomore album, 2006's "Sam's Town" (anyone out there?), will be pleased by the covers as well as the new tracks. But the fact remains that the Killers have departed from the effervescent pop of "Hot Fuss" to moodier and rougher melody-rock.
The Killers consistently produce excellent songs. They may have shed most of their nascent synth-pop, but they still wear their substantive and undeniably catchy choruses as prominently as Hercules' lion-skin. Most remarkably, the Killers manage to write songs that go places. They break from the standard verse-chorus bridge and instead craft songs that feature invigorating guitar bursts or drum shifts that hold your attention as the song progresses.
The album is top-heavy for the most part, and it sure does begin with a bang. "Tranquilize" coaxes a fine duet performance out of legend Lou Reed, as sure an influence for the Killers' glam as any. "Shadowplay" is an excellent Joy Division cover for the recent UK film "Control" about lead singer Ian Curtis' demise. This post-punk epic is freshly covered, playing to the strength of the Killers' background choruses and electro sensibilities. Singer Brandon Flowers might not have the signature baritone of his predecessor, but a fierce beat and scathing guitar give this song lift-off. "All the Pretty Faces" rocks hard and could be considered one of their best songs to date.
Then there are clunkers like "Glamorous Indie Rock and Roll," a pun on their own aesthetic but also recalling the satirical headline from The Onion: "Rock Song Takes Pro-Rock Stance." Admittedly this is an album of b-sides, so be warned if certain tracks do not strike your fancy. I came to admire "Under the Gun," the b-side to the Killers' smash "Somebody Told Me." If you aren't careful you'll find yourself repeating the infectious chorus, but seeing as finals are approaching it wouldn't be all that controversial a refrain: "Kill me now, kill me now, kill me now."
The Killers were criticized for taking themselves too seriously with their Springsteen-ish aspirations on "Sam's Town." Frankly, dudes need to chill out and just take a listen, because that album, disregarding pretension, was pretty darn good. And, frankly, "Sawdust" is good enough for anybody to pick up -- there's even a remix of "Mr. Brightside."
Much like "Sawdust," the latest compilation from Gorillaz -- "D-Sides" (2008) -- is also a collection of new songs and remixes. After the success of their first album "Gorillaz" (2001), the band released an album of remixes punningly called "G-Sides." This new compilation, which remixes their hit album "Demon Days" (2005) is equally composed of original tracks or b-sides. This album will satisfy anybody jonesing for dynamic jams ranging from dance to bass, and beats to chilled-out haunts. Listening to "D-Sides" I could only think this would be an equally perfect soundtrack to a laser-streaked nightclub or an opium den. I'm not saying I'd rather be in either place, but the Gorillaz have the ability to transcend musical convention and style from track to track.
With Damon Albarn at the helm (lead singer of '90s rock sensation Blur), the Gorillaz are visually represented as four cartoon characters drawn by the artist of "Tank Girl." The four band members have voices, styles and personalities just like a real band -- save for the fact that they're cartoons. This post-modern slap is a commentary on pop groups; in essence, pop band members are as much of a product to be sold as the music itself. In concert the four characters playing the music are projected as holograms on screens. But never fear: the music is no gimmick. It's invigorating without the visual lifts.
Gorillaz tracks are musical tapestries with complex wefts and warps of instruments and studio magic. I can only describe the bulk of their work as far out. Strong but not overbearing baselines ripple through each song, allowing the beat more space for exploration while not losing too much continuity. "68 State" is an instrumental dance beat that could have played at the post-punk dance idyll of the Hacienda while the glockenspiel-laden "Stop the Dams" -- my personal favorite -- is a hypnotic traipse. "Rockit" at first ticks off like the Macarena, but progresses to an intergalactic mosey with purposely nonsensical lyrics that nevertheless provide a highly satisfying listen: "Blah blah blah blah blah blah."
The best track on the album is "Bill Murray," continuing in the tradition of their past greats "Dirty Harry" and "Clint Eastwood." The song is a carefully orchestrated bounce of many different beats, basses and horns that lacks only an infectiously catchy chorus.
The second half of the album is a collection of remixes from "Demon Days" by a variety of British DJs. The Stanton Warriors remix of superhit "Feel Good Inc" would play well in any dance party. All of the remixes are well done, and Hot Chip's remix of "Kids with Guns" features their signature electronic delicateness. However, my favorite remix is "Kids with Guns (Jamie T's Turns to Monsters Mix)" -- a wholesale reimagining of the original song by constructing a new narrative based solely on the title of the original song.
Other than their hits, Gorillaz songs are acquired tastes. You must admire their eclecticism and deftness as much their beats and melodies. For a different brand of tracks you can both cut a rug to and chill out with, Gorillaz can't be beat. For a different brand of both accessible and avant-garde music, pick up "D-Sides."
