Released 29-MAR-2005
#5
The tail end of 2004 found me agonizing over a relatively new band called The Killers. At the time, they had one song under their belt, Somebody Told Me, and were getting a good amount of radio play. Before the year was through, I managed to get my hands on the full disc, Hot Fuss, but eventually dismissed the album as OK and nothing more. Sure, Hot Fuss contained a number of catchy, bathed in ‘80s synth-pop numbers ripe for radio play that were certain to stick in your head, but still, I mused, something was missing. For the life of me, however, I could not figure out just what it was that turned me off and in the end never mentioned the band nor the disc in my 12 Days of Christmas reviews last year. Now, sure not to make the same mistake twice, I not only have already mentioned the band here, but will also explain why, for me, they just missed the mark.
Truth be told, in 2004 I was quite enamored with Somebody Told Me and came very close to naming it my favorite song of the year. I kid you not. But alas, the kudos instead fell upon Modest Mouse and their single, Float On. The result, I figured, was rather negligible, as I doubted either band would ever pop up on my year-end list again. Either choice would be a throw-off catchy song that could define a year on the surface but nothing more. That was more than fine with me. In considering Modest Mouse, I still have the feeling I’ll never here from them again and have not discovered one other song in their very long catalogue that has done anything for me. The Killers, on the other hand, I have come to appreciate much more than I imagined I ever could or would and yet, at last, I have finally come to accept that I can only embrace them as far as someone like, say, Maroon 5 (even Matchbox 20 commands more respect for what they do). And since their album no longer qualifies for my list in 2005, I wanted to make sure I gave them their due in this space which is, ironically, reserved for their top rival, and in my opinion, a far superior band: The Bravery.
Since the rivalry is more suited for the pages of New Musical Express than my review, I shall spare you the he-said/she-said details. Instead, I will inform that The Bravery beats The Killers in a way that, to paraphrase an idea by Roger Ebert, the esteemed movie critic and one of my literary heroes: The Killers know the notes but not the music. The Bravery know the music.
The ‘80s influences are apparent in both bands, for sure, and both pay tribute to their heroes Duran Duran and The Cure. The Killers do it with winks and nudges while The Bravery do it with wit, wisdom, and style. It isn’t enough in our post-ironic age to name drop and synth drop without having a soul to back it up. Sure, it will get you in the Top 40, as it did for The Killers, but it will never lead to any lasting longevity. Where The Killers say, “I’ve got soul but I’m not a soldier” in their most polished and catchy song All These Things That I Have Done, The Bravery proclaim, “take me someplace… off somewhere cold… gradually just growing old… and someday maybe make of me… an honest man.” The Killers is good for the frat party. The Bravery is good for the party and then again in the bedroom when it is time to get it on. I like to get it on.
The best songs on The Bravery, their debut album, are An Honest Mistake, Fearless, The Ring Song, and my favorite, Tyrant. Each has its own charm and brings something different to the table. An Honest Mistake is the consummate single as it channels New Order panache while it flashes Duran Duran style and synthetics. Fans of either band will be happy to hear this song any time it might find its way through the speakers, especially when it is time to hit the dance floor. Fearless turns up the guitars and synthesizer squeaks while it continues the dance vibe. The Ring Song, which falls at the end of the disc, is a bit more pop than dance while it muses on growing up without growing old. Fidelity is the topic at hand but because it is kept upbeat and nostalgic the feet keep tapping as the synths squeal over the alluring “bap bap bap baps” of singer Sam Endicott. Then there is Tyrant, in the middle of the disc, unfolding as if Depeche Mode was reborn in the year 2005 (oh wait, they are!). The difference, however, is that rather than play the angels, The Bravery would rather front the tyrant. “I’m stuck just like a pig… roasting in your eyes… I believe everything that you want.” Not even Interpol could get away with a line like that yet somehow The Bravery turn it into their very best song. Now that is the sign of New Wave revitalists at their best.
Overall, The Bravery is a great disc by a very interesting band with a promising future. So while their rivalry with bands such as The Killers keep them in the press today, it is the music, first and foremost, I believe, that will be their legacy in the future. As for The Killers, I wouldn’t be surprised to find Hot Fuss in the bargain bin five years from now. Viva la Robb Thomas!