The Killers trade in glitz and glam for haunting narratives on 'Pressure Machine,' their stark and intimate seventh LP. Read Candace McDuffie's review:
, The Killers have consistently relied on their formula for radio-friendly pop-rock satisfaction: sauntering buildups, hyperbolic lyricism, lucid vocals and gargantuan instrumentation. Frontman Brandon Flowers manages to balance cheeky playfulness with captivating reverie. From the androgynous incantations of “Somebody Told Me” to the epic ‘80s whirlwind known as “Running Towards a Place” , the band knows just the right buttons to push to generate magic in the studio.
Many of these songs aren’t meant for the raucous and sweeping energy of stadium performances—their heavy subject matter is draped in hushed acoustics, and is better suited for the innate intimacy of theaters and smaller venues. This particular concept album is told from the point of view of local townspeople who are disenchanted by their surroundings, but powerless to escape them.
“West Hills” is a stirring tale of a Nephi townie who gets caught with “hillbilly heroine pills,” but Flowers conveys this harsh reality with disarming softness: “They got me for possession of enough to kill /The horses that run free in the West Hills.” “Desperate Things” is a dark, fictitious tale of domestic violence, while “Terrible Thing” examines the thought process of a gay teen considering suicide.
The supernatural backdrop of “Cody” is wistful, yet enchanting. Ditto “Quiet Town,” which has drawn countless comparisons to Bruce Springsteen’s “Nebraska” for its stark depiction of small-town sadness and grief.
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