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The nice thing about Day & Age is that not only is Flowers' voice relatively buried, the Killers are unwittingly comfortable with their ludicrous, outsized pop, which turns the album into terrifically trashy pop. Not the serious rock they yearn to be by any means, but these fashionable threads fit them better anyway.
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Alternative PressFlowers suffers from lyrical impairment and bloated self-importance throughout the rest of the album. [Jan 2008, p.121]
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The Caribbean-flavored 'I Can't Stay' and the Duran Duran-lite 'Joyride' are much more perplexing, as is the looped chanting that anchors 'This Is Your Life.' If nothing else, this band keeps fans on their toes, and they're likely to buy in for another round.
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This is all folded into a weirdly ambitious disco-rock record (Madonna collaborator Stuart Price produced) that occasionally takes on fun topics like desert-motel nooky, but more often gets bogged down in ruminations on Why We’re Here, not to mention What It All Means.
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Along with his bandmates and producer Stuart Price, Flowers makes sure that Day & Age rarely veers from the not insignificant mission of making a record that simply sounds good.
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Day & Age isn’t a masterpiece but it ends up being their most consistent album to date and it shows true promise of growth and strength in their music.
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It’s difficult to be bowled over by the fact that The Killers have essentially crafted an enjoyable but fairly throwaway pop record.
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Like Vegas itself, Day & Age sometimes leans toward sensory overload. But the pull of its showgirls-and-fool's-gold glory is undeniable.
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FilterWith Day & Age, it would appear The Killers have figured out the music they want to create. [Holiday 2008, p.91]
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The Killers only stumble here with the nearly seven-minute closer 'Goodnight, Travel Well,' a sleepy meditation on all things cosmic that's hopelessly lost in space.
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A few decent songs can't outshine this record's over-produced stadium rock. The Las Vegas rockers' latest just doesn't have the same sparkle.
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Their singles have always been enjoyable, and the increasing diversity and confidence exhibited on Day & Age could hint that it might not be so far fetched to expect great albums from the Killers in the future.
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In this day and age, though, people would be better off cherry picking the best tracks for download.
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Price has pulled off a smarter trick: after doing ’80s Britain and ’70s America, The Killers now finally sound like… themselves.
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The disc ultimately hangs together on mood; Price unfailingly accentuates the bright, shiny, and happy. This not only makes good pop sense, it provides an effective counterbalance to Flowers and his achy-breaky vocals.
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Weaker songs near the end dull Day & Age’s initial shine.
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With neither the sugar rush of "Hot Fuss" nor the blustery thrills of "Sam's Town," this is the Killers' most beguilingly strange record. As an accurate reflection of its frontman, it succeeds handsomely.
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Yes, parts of this album are just plain bizarre. Day & Age isn’t as genius as "Hot Fuss," but it has enough merits to keep its makers hit-makers, albeit odd ones.
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This is the Killers' spitball album, the one where they try everything and see what works while Flowers grasps for a relatable tone.
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Day & Age is the most consistent, confident album the Killers have created so far.
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The album has a consistent lack of meaning and genuine feeling.
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Q MagazineSo the crude arithmetic of Day & Age is not encouraging: four great songs, two so-so ones and four duds. But the spirit in which it was made merits goodwill. [Dec 2008, p.124]
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Too bad all that drama sometimes weighs down Flowers.
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While Day & Age manages to patch over most of the cracks in the Killers's façade, they still aren't done growing into the World's Biggest Band.
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They remain fascinated by heartland mythos, but by becoming more comfortable with their glitzy roots, they've actually found the pulse of something more authentic.
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It is a hodgepodge of stupid ideas that one will either find brilliant or, well, stupid. However, it is hard to deny that it is a pop album of massive ambition and yet, suffers from none of the pretentiousness that plagues most of the Killers contemporaries in that aspect.
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It’s big and postured and goes by without saying anything of significance. A lot of the blame for that goes to Brandon Flowers, since he is the voice of The Killers and all, but it seems like his band, drunk with success, doesn't have the slightest idea what to do next.
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The Killers have returned more ambitious than ever with Day & Age, but this time around, Flowers set the buzz bar a little lower, stating that it's the band's most playful record. And he's right.
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It's an odd record that finds room for an alien abduction, marimbas, family illness (the eerie 'Goodnight, Travel Well'), Spandau Ballet sax solos and Jona Lewie's 1980 hit 'Stop the Cavalry.'
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Even when the songs feel light, when the stylistic havoc and production is almost absurd, you have to admire the glorious gall. [Dec 2008]
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Under The RadarGetting mauled by that white tiger sounds a bit more exiting. [Year End 2008]
Awards & Rankings
User score distribution:
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Positive: 178 out of 220
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Mixed: 26 out of 220
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Negative: 16 out of 220
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NickSJan 3, 2009
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Aug 29, 2020um álbum lendário, assim como 'Hot Fuss' e 'Sam's Town', un álbum incrível!
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Apr 17, 2018