both will leak :P

hahaha yea you're right. maybe they'll leak on the same day??? :sneaky:

why would you cast out the whole album based on one song?

both will leak :P

 

Sam's Town leaked, Sawdust didn't. And remember, Sawdust was composed mainly of songs that were already out there...there were only two songs there that I'd not heard before.

 

But odds are, it'll be out there, considering the advance reviews are starting to pop up here and there.

i have concluded human isn't good and the new album will suck. its been all downhill since hot fuss.

 

IMO, I love Human and I thought Hot Fuss was worse than Sam's Town!!!, Honestly, I thought Hot Fuss was pretty poor except maybe for the singles, but Sam's Town was an alround good album! :D

 

I Can't wait for Day & Age and at least give it a chance!;)

IMO, I love Human and I thought Hot Fuss was worse than Sam's Town!!!, Honestly, I thought Hot Fuss was pretty poor except maybe for the singles, but Sam's Town was an alround good album! :D

 

I Can't wait for Day & Age and at least give it a chance!;)

 

I won't agree that Hot Fuss was poor. It's still great, although it did have the tendency to really lose steam toward the end of the album. There's a lot of non-single tracks you have to listen to just to appreciate. Change Your Mind immediately comes to mind in that case, as an example. However, I will agree that Sam's Town is just massively underrated and much better than Hot Fuss. Actually, I would go so far as to call it one of the best albums of the 2000s thus far, and I just can't figure out why it got literally no love from the critics. Keeps my attention start to finish, and it's cohesive without being an outright concept album, and the songs are FANTASTIC--When You Were Young, Read My Mind, This River Is Wild, Sam's Town.

 

Anyone care to explain the lack of Sam's Town love in some circles? I just can't figure it out.

Well I for one like both Hot Fuss and Sam's Town, altough I prefer the second one. Can't wait for this new album...

Whoo I saw them live last night at Hammerstein Ballrom in New York City. I was BLOWN AWAY, I'd forgotten how fantastic they are live!! My friend and I started pretty far away but kept pushing up bit by bit, then there was a large chunk of the show when we just couldn't move, and at the end of Mr. Brightside I realized that if we wanted to get closer, it was now or never. So i pushed through this little crack in the people and we moved up about 6 rows, and we were probably around 6 rows away from the stage then. I could see beads of sweat on Brandon's forehead :D

 

Brandon is a TOTAL hunk btw!! I could not take my eyes off him :lol: He was also very sweet. He introduced the other band members and then said "I am the romance and this is the kiss," and launched into "Change Your Mind." Later he said "We belong in the vast deserts of the west, but tonight our hearts and souls are in NYC. We love you guys." :nice:

 

All in all, it was a great show. They played some new stuff too, which sounded GREAT (all you people with your doubts about Day & Age).

 

Here was the setlist:

1. When you were young

2. For reasons unknown

 

3. Smile like you mean it

4. Jenny was a friend of mine

5. Somebody told me

6. Losing touch

7. Spaceman

8. Sam’s town

9. Read my mind

10. Sweet talk

11. Bones

12. Joyride

13. Change your mind

14. Brightside

 

Encore

 

15. Human

16. Neon tiger

17. Shadowplay

18. All these things

 

 

and here's some picture of mine if you're interested:

http://www.facebook.com/album.php?aid=37942&l=de403&id=707037309

Whoo I saw them live last night at Hammerstein Ballrom in New York City. I was BLOWN AWAY, I'd forgotten how fantastic they are live!! My friend and I started pretty far away but kept pushing up bit by bit, then there was a large chunk of the show when we just couldn't move, and at the end of Mr. Brightside I realized that if we wanted to get closer, it was now or never. So i pushed through this little crack in the people and we moved up about 6 rows, and we were probably around 6 rows away from the stage then. I could see beads of sweat on Brandon's forehead :D

 

Brandon is a TOTAL hunk btw!! I could not take my eyes off him :lol: He was also very sweet. He introduced the other band members and then said "I am the romance and this is the kiss," and launched into "Change Your Mind." Later he said "We belong in the vast deserts of the west, but tonight our hearts and souls are in NYC. We love you guys." :nice:

 

All in all, it was a great show. They played some new stuff too, which sounded GREAT (all you people with your doubts about Day & Age).

 

Here was the setlist:

1. When you were young

2. For reasons unknown

 

3. Smile like you mean it

4. Jenny was a friend of mine

5. Somebody told me

6. Losing touch

7. Spaceman

8. Sam’s town

9. Read my mind

10. Sweet talk

11. Bones

12. Joyride

13. Change your mind

14. Brightside

 

Encore

 

15. Human

16. Neon tiger

17. Shadowplay

18. All these things

 

 

and here's some picture of mine if you're interested:

http://www.facebook.com/album.php?aid=37942&l=de403&id=707037309

 

So jealous, especially after the SF show I was supposed to go to on Tuesday was postponed. God, now I have to wait a month and a half until I see them! :laugh4: AND CHANGE YOUR MIND? Damn it. That would have been wondrous.

Yeah change your mind was an awesome little surprise! The setlist was really good but I was kind of hoping for On Top (a personal favorite of mine ...)

Their first record has sold 5 million copies,i can't believe it.

I like hot fuss but damn,5 million is an HUGE achievement

Hot Fuss, the album which is nearly always in the "spend £20 and get one of these albums for £4" deal in the local zavvi

I love all their music, especially their albums Sam's Town and Sawdust.

My favorite tunes are Somebody Told Me and For Reasons Unknown.

There's a victim's presale for some US shows in January going on sale this wednesday, Oct.29th at 10am local time.

Does anyone have a high-quality mp3 of ''Human''?

 

EDIT: Nvm, found it...

Has anyone heard, losing touch, spaceman and neon tiger? I think they're pretty damn good and are much more like it compared to Sam's town. Losing touch is my highlight out of the 3.

Killers' Day & Age Preview

 

In a recent feature, London's Observer newspaper proclaimed that the Killers "may just be the strangest band in America." I don't know if I agree with that. Perhaps "the strangest multiplatinum, major-label band in America" is a better fit. Or even "the strangest band in Las Vegas."

 

Regardless, the sentiment is correct. Over the course of five years, the Killers have been nothing if not unpredictable and rather unapologetically so. Whether they're masquerading as starry-eyed synthesizer aficionados with an Anglo sweet tooth (2004's Hot Fuss) or gruff-voiced Springsteen disciples with a thing for widescreen Americana (the '06 follow-up, Sam's Town), they've certainly danced to the beat of their own drum machine, critics be damned.

 

So it sort of makes sense that on their latest, Day & Age (in stores November 25), the Killers have decided to jettison practically everything you've previously known about them and just make the best Duran Duran record in recent memory (or at least a pretty good David Bowie album or a decent Bryan Ferry disc).

 

Produced by British dance retro-ist Stuart Price (formerly of Les Rhythmes Digitales and Zoot Woman, and most of Madonna's Confessions on a Dance Floor album), Age positively sparkles with studio sheen, a record full of crisp, echoey vocals, spaced-out synth squiggles, bossa-nova drum patterns and way more saxophone than you could possibly imagine. There are moments that recall early-'80s gems like "Rio," "Notorious," "China Girl" and "Slave to Love," if not so much in style as in sophistication. If nothing else, Age is an album of unabashed excess, of neon-lit late nights, of diamonds and dance floors and endlessly bubbling champagne. It is a record for the good times, even when times aren't necessarily all that good.

 

Opener "Losing Touch" kicks off with a rumbling R&B horn section and some starry guitar work, with frontman Brandon Flowers inviting some unknown bon vivant to "caress me in your velvet chair" and "go run and tell your friends I'm losing touch." The song builds to a frothy climax before a winging guitar solo from Dave Keuning brings the party to a close.

 

First single "Human" is up next, a shiny mix of galloping bass lines (a Price trademark) and smoky synth lines. By now, you've surely heard it, and while there's not much else to add, I will say that, having listened up close and personal, there is roughly an 85 percent chance Flowers is singing "Are we human/ Or are we denser," and not, as many believe, "dancer." Which sort of makes more sense, in some cosmic way, I suppose.

 

"I Can't Stay" is next, starting off with more of that galloping bass and some twinkly harp, throwing some shuffly guitar into the mix and then tossing everything overboard with an insane saxophone line that takes this into Carnival Cruise Line territory. Throw in some calypso rhythms and a genuine steel-drum line at the song's end, and you've got a complete, couples-only Caribbean vacation.

 

That's followed by "The World We Live In," which starts with a galaxy of strings and synthesizers and Flowers singing "Maybe I was mistaken/ I heard a rumor that you quit this day and age." The song opens into a great starry space, then collapses back in on itself with more horns and spindly, spy-movie guitars. "A Dustland Fairytale" is next, a somber, sepia-toned tune reportedly about Flowers' parents. Featuring plinking piano and mournful cello, it builds to a powerful, soaring crescendo, and coupled with Flowers' Americana-obsessed lyrics (plenty of mentions of "blue-jean serenades," "party dress"-clad damsels and "Kodachrome prints"), it's perhaps the album's only song that harkens back to the Sam's Town days.

 

The opposite of that is "Neon Tiger," a shimmery example of glitzy, Baroque pop that — in its early sections, at least — recalls Taco's "Puttin' on the Ritz." The song builds to a string-filled climax, with Flowers summoning all manner of faux drama and bellowing, "Away! Away! Oh, run!"

 

"Spaceman" follows, pure synth-rock candy and "ooh-ooh-ooh!" backing vocals. There is some fabulous robo-guitar work, a rather nifty bass/drum/vibraphone breakdown, and some ray-gun sound effects, and — it should be noted — Flowers puts on perhaps his best vocal performance of the entire album, cautiously and delicately exploring an upper range most (myself included) didn't know he possessed.

 

The album enters the homestretch with "Joy Ride," which is about as unabashed an ode to '80s pop as you'll find in 2008. Starting off with "chicka-chicka-chicka" vocals (like Yello's "Oh Yeah") and wah-wah guitars, the song kicks into gear with Flowers singing about a bad-news girl in a "candy-apple red dress," then flies into absolute overdrive thanks to a lengthy saxophone section, some bossa-nova drums and more of that galloping bass line — a glitzy, goofy bit of dance-floor mastery that's only topped by Flowers shouting, "When your chips are down/ When your highs are low — Joy Ride!" in the chorus.

 

Taking an abrupt 180, "Joy Ride" crashes headlong into "Goodnight, Travel Well," a six-and-a-half-minute exercise in ominous horns, desolate drum fills and Flowers at his absolute nadir, wailing, "The unknown distance to the great beyond/ Stares back at my grieving frame." The song does build to a rather impressively powerful strings-and-horns middle section, but given its length — and its depressing subject matter — it seems bizarrely out of place on the album (it also sounds a lot like Radiohead's "Climbing up the Walls"). Simon Le Bon would not approve.

 

After all the dirge-ery, Day & Age wraps up with "This Is Your Life," which rides a bizarre, treated loop of vocals and chants, throws some electronic harpsichord into the mix and tops it off with an Edge-y guitar line. Flowers sings, "Your sky's full of dreams/ But you don't know how to fly," and the whole thing builds and builds until he's left shouting, "This feeling won't go ... wait for it ... wait for it ... " while the lights come on and a drum cadence ushers the last partygoers out the door.

 

No word on the after party just yet, but I'll assume it's going to be fabulous. After all, living the high life means never having to come down, not even for a minute. And on Day & Age, the Killers go unapologetically higher and higher (mostly). At this point, they're never gonna touch the ground.

 

(mtv.com)

Sounds very like Hot Fuzz the way the preview describes it.

just got my tix yesterday to the Fairfax, VA show at the Patriot Center in January! woohoo!!! GA floor tix again and I can't wait to get up front and center.

So what do you guys think? Is it denser or dancer?

It says up there that it is denser! :dance:

brandon has confirmed it is "dancer" not "denser"

 

it also says so in the new issue of Q in which the new album is reviewed

 

its "are we human or only dancer?" according to Q...which makes no sense at all but hey-ho

 

IMG]http://i280.photobucket.com/albums/kk170/coldplay92/killersage.jpg[/img][

Killers' Day & Age Preview

 

In a recent feature, London's Observer newspaper proclaimed that the Killers "may just be the strangest band in America." I don't know if I agree with that. Perhaps "the strangest multiplatinum, major-label band in America" is a better fit. Or even "the strangest band in Las Vegas."

 

Regardless, the sentiment is correct. Over the course of five years, the Killers have been nothing if not unpredictable and rather unapologetically so. Whether they're masquerading as starry-eyed synthesizer aficionados with an Anglo sweet tooth (2004's Hot Fuss) or gruff-voiced Springsteen disciples with a thing for widescreen Americana (the '06 follow-up, Sam's Town), they've certainly danced to the beat of their own drum machine, critics be damned.

 

So it sort of makes sense that on their latest, Day & Age (in stores November 25), the Killers have decided to jettison practically everything you've previously known about them and just make the best Duran Duran record in recent memory (or at least a pretty good David Bowie album or a decent Bryan Ferry disc).

 

Produced by British dance retro-ist Stuart Price (formerly of Les Rhythmes Digitales and Zoot Woman, and most of Madonna's Confessions on a Dance Floor album), Age positively sparkles with studio sheen, a record full of crisp, echoey vocals, spaced-out synth squiggles, bossa-nova drum patterns and way more saxophone than you could possibly imagine. There are moments that recall early-'80s gems like "Rio," "Notorious," "China Girl" and "Slave to Love," if not so much in style as in sophistication. If nothing else, Age is an album of unabashed excess, of neon-lit late nights, of diamonds and dance floors and endlessly bubbling champagne. It is a record for the good times, even when times aren't necessarily all that good.

 

Opener "Losing Touch" kicks off with a rumbling R&B horn section and some starry guitar work, with frontman Brandon Flowers inviting some unknown bon vivant to "caress me in your velvet chair" and "go run and tell your friends I'm losing touch." The song builds to a frothy climax before a winging guitar solo from Dave Keuning brings the party to a close.

 

First single "Human" is up next, a shiny mix of galloping bass lines (a Price trademark) and smoky synth lines. By now, you've surely heard it, and while there's not much else to add, I will say that, having listened up close and personal, there is roughly an 85 percent chance Flowers is singing "Are we human/ Or are we denser," and not, as many believe, "dancer." Which sort of makes more sense, in some cosmic way, I suppose.

 

"I Can't Stay" is next, starting off with more of that galloping bass and some twinkly harp, throwing some shuffly guitar into the mix and then tossing everything overboard with an insane saxophone line that takes this into Carnival Cruise Line territory. Throw in some calypso rhythms and a genuine steel-drum line at the song's end, and you've got a complete, couples-only Caribbean vacation.

 

That's followed by "The World We Live In," which starts with a galaxy of strings and synthesizers and Flowers singing "Maybe I was mistaken/ I heard a rumor that you quit this day and age." The song opens into a great starry space, then collapses back in on itself with more horns and spindly, spy-movie guitars. "A Dustland Fairytale" is next, a somber, sepia-toned tune reportedly about Flowers' parents. Featuring plinking piano and mournful cello, it builds to a powerful, soaring crescendo, and coupled with Flowers' Americana-obsessed lyrics (plenty of mentions of "blue-jean serenades," "party dress"-clad damsels and "Kodachrome prints"), it's perhaps the album's only song that harkens back to the Sam's Town days.

 

The opposite of that is "Neon Tiger," a shimmery example of glitzy, Baroque pop that — in its early sections, at least — recalls Taco's "Puttin' on the Ritz." The song builds to a string-filled climax, with Flowers summoning all manner of faux drama and bellowing, "Away! Away! Oh, run!"

 

"Spaceman" follows, pure synth-rock candy and "ooh-ooh-ooh!" backing vocals. There is some fabulous robo-guitar work, a rather nifty bass/drum/vibraphone breakdown, and some ray-gun sound effects, and — it should be noted — Flowers puts on perhaps his best vocal performance of the entire album, cautiously and delicately exploring an upper range most (myself included) didn't know he possessed.

 

The album enters the homestretch with "Joy Ride," which is about as unabashed an ode to '80s pop as you'll find in 2008. Starting off with "chicka-chicka-chicka" vocals (like Yello's "Oh Yeah") and wah-wah guitars, the song kicks into gear with Flowers singing about a bad-news girl in a "candy-apple red dress," then flies into absolute overdrive thanks to a lengthy saxophone section, some bossa-nova drums and more of that galloping bass line — a glitzy, goofy bit of dance-floor mastery that's only topped by Flowers shouting, "When your chips are down/ When your highs are low — Joy Ride!" in the chorus.

 

Taking an abrupt 180, "Joy Ride" crashes headlong into "Goodnight, Travel Well," a six-and-a-half-minute exercise in ominous horns, desolate drum fills and Flowers at his absolute nadir, wailing, "The unknown distance to the great beyond/ Stares back at my grieving frame." The song does build to a rather impressively powerful strings-and-horns middle section, but given its length — and its depressing subject matter — it seems bizarrely out of place on the album (it also sounds a lot like Radiohead's "Climbing up the Walls"). Simon Le Bon would not approve.

 

After all the dirge-ery, Day & Age wraps up with "This Is Your Life," which rides a bizarre, treated loop of vocals and chants, throws some electronic harpsichord into the mix and tops it off with an Edge-y guitar line. Flowers sings, "Your sky's full of dreams/ But you don't know how to fly," and the whole thing builds and builds until he's left shouting, "This feeling won't go ... wait for it ... wait for it ... " while the lights come on and a drum cadence ushers the last partygoers out the door.

 

No word on the after party just yet, but I'll assume it's going to be fabulous. After all, living the high life means never having to come down, not even for a minute. And on Day & Age, the Killers go unapologetically higher and higher (mostly). At this point, they're never gonna touch the ground.

 

(mtv.com)

 

 

OOh, who is right? hahaha

Obviously me :smug:

 

and here is the Q Review for people who missed my post edit

 

That says 'Are We Human or ONLY Dancer'....That can't be right!

That says 'Are We Human or ONLY Dancer'....That can't be right!

 

well you ask brandon then!!! :rolleyes: