Comments
Sam Robson wrote...
I don't know what to reckon really, but maybe in around 2 years we will probably look back on this album and not think its worth 4 stars. taking it beyond the 3 star rating always makes me sceptical.

jpdfan2 wrote...
there are better songs on the album than this one. it's odd that they've decided to release this, as tracks like 'on top', 'jenny...' or even 'smile like you mean it' are a lot better and more accessable. silly killers.

Columbia wrote...
Yeah, I have to say I wasn't too keen on this one at first after having heard 'Jenny...'. First time I heard 'All The Things...' I thought it sounded a bit spliced together and made up of a bunch of different sections that didn't quite work, but it just grew and grew on me. To be honest, I really didn't see the hype around The Killers at all at first, and it took me months to be convinced to buy the album. They probably won't be around in a couple of years but I think they've managed to really capture something this summer, a case of being in the right mood at the right time I s'pose, but I get the horrible feeling it's gonna date really badly and in a while we'll be wondering what we thought was so great about it...
There is something so crazily confident about them though, which I like. Volume and power...more bands need the conviction of these guys.

Mike_Q wrote...
I've seen The Killers live twice now, was very disappointed at the Cockpit but they were much better at the Leadmill. I still think they are weighed down by Jenny, Mr Brightside and Somebody Told Me though. Hard when you write 3 songs as good as that to write a full albums worth to match.

n1ck_a wrote...
I must disagree with alot of the comments made in this forum. I think everything about this band is ultra cool! They've really grown on me and i must admit there's not a single song on this cd i don't appreciate. Will i be listening to them 6 months from now? Hell yes!



The Killers are probably the most aptly-named band around at the moment, after having whipped, bludgeoned and slayed their way across the British music scene with sharp ties and nicely-pressed trousers. Longing vocals, courtesy of (presumably) the most attractively-scented man in rock, Brandon Flowers, spread themselves like honey over piano and organ before a chiming guitar riff slices through the mood perfectly, making way for the stop-start stutterings of "You know, you know, no, you don't, you don't..." and the low, broody, "Yeah, you know you gotta help me out..."

