The Killers- Day and Age.

As a huge fan of The Killers first two studio albums 'Hot Fuss' and 'Sam's Town', i eagerly awaited the release of their third album for quite some time. But, if you thought that this album was going to be anything like the first two, then are you in for a shock.

On first listen, i was utterly speechless, what the hell have The Killers done. It is one of the strangest albums i have ever listened to. However after a few more listens, it is starting to grow on me, well that is most of the album, there are a few exceptions which are truly awful and i have to skip through.

This album actually feels like The Killers have found themselves, and have gone back to their Las Vegas roots. It has a sort of grimy/sexy feel througout, that fits perfectly with the bands hometown. Album opener 'Losing Touch' epitomizes this, and it is carried on throughout the album.

Stand out tracks are the Killers showing us their philosophical side in 'Human' 'Are we human/or are we dancer?'. 'Spaceman' is an excellent track, its Brandon Flowers take on Bowie's Ziggy Stardust, it has an epic hook, and will probably be released as a single. ' A dustland fairytale' is a beautiful, truly epic, little gem of a song. 'Neon Tiger' is another great track, it has a lovely hook. 'Goodnight, Travel Well' is a slow burner, its dark, but is the Killers at their most creative.

'Joy Ride' has to get a mention, as it is one of the strangest tracks i have ever heard, how this made the album i do not know. The album clearly is the Killers at their creative and flamboyant best, but 'Joy Ride' takes this a little too far, it has an absolutely horrible sex and saxophone combination, which i have to skip through, its truly unbearable. 'I Cant Stay' is another song which is too much, its the Killers taking on Afro-Carribean sound, and it simply doesnt work. 'The world we live in' is like a slowed down 80's disco tune, unbearable on the ears.

This album is not for everyone, but give it a chance, it is a grower, and sounds much better on second listen. Fans of the old work may be dissapointed, but i think we should embrace the new sound, the Killers are reinventing and rediscovering themselves, and in a world where there is so much carbon copy, mainstream formulaic music, that is a breath of fresh air. It is so good to see a band that aren't afraid to reinvent themselves and to offer us something completely new and different everytime.

Funeral for a friend : Memory and Humanity

The fourth album from the Welsh rockers is a return to their roots, with a polished twist. ‘Memory and Humanity’ seems to take the best aspects from each of FFAF’s first three studio albums, and combine them, to make it their most mature work yet. It has the raw energy and passion of ‘Casually Dressed and Deep in Conversation’, the controversial topics and lyrics of ‘Hours’, and the polished finish of ‘Tales Don’t Tell Themselves.’ Tracks manage to combine the heavy sound of their first work, and the excellent song writing and catchy riffs of the previous two. “Kicking and Screaming’ is a stand-out track. ‘Funeral for a Friend’ have made a powerful return to form.

Kings of Leon : Only by the Night

Four albums in and this is the ‘Kings of Leon’ shot for the big time. After cult success with their first two albums ‘Youth and Young Manhood’ and ‘Aha Shake Heartbreak’, they developed a more mature sound on third studio album ‘Because of the Times’.

‘Only by the Night’ sees ‘Kings of Leon’ aiming for a wider audience. This is stadium rock at its most powerful, with mass sing-along tunes and powerful rock songs. This album contains some of ‘Kings of Leon’s’ finest work to date. ‘Revelry’ is a stand out song, but some of the album, especially the second half, is a bit of a let down.

No doubt there aim for the mainstream will be successful; anthems such as ‘Sex on Fire’ and ‘Use Somebody’ are guaranteed to open up the Kings to a wider audience. But established fans of the ‘Kings of Leon’ will be disappointed. This album is a little cold, too commercialised and despite being a more refined sound- you can make out Caleb Followill’s lyrics on most of the songs, a damn near impossibility on any of their previous work’- long time fans will no doubt be let down by their attempts to play to a wider audience.

The big thing is where they go from here, and how they will use their likely new found success. While the Kings may settle for mainstream success and radio-play mediocrity, fans of their previous work will be hoping for a return to their roots.