I am a suffering Giants fan. I miss the days when I could rely on my team for a win, but it’s become clear that that’s a bygone era. Will I still watch every game in the purest form of masochism? Of course! But I’ve had to learn to win in other ways. For example, while I was home for Fall Break a few weeks ago, the Eagles-Browns game was playing on the TV (in my house consisting solely of Giants and Jets fans, I might add). My first instinct was to demand that this garbage be shut off, but just as I started to say as much, the Browns’ defensive lineman Myles Garrett hopped over the line of scrimmage to block the Eagles’ field goal, and the Browns’ defensive back Rodney McLeod ran 50 yards for a touchdown that tied the game just before halftime. The Browns ultimately fell to the Eagles, but in the moment, I was elated; if my Giants can’t win, I will at least take pleasure in slights against our rival, the Eagles. Some of you (likely insulted Eagles fans) may be wondering — where is she going with this? Isn’t this supposed to be Arts and Culture? Indeed it is, which is why when one of the commentators for this game referred to McLeod as the Browns’ “Mr. Brightside,” my mind immediately played the song off The Killers’ 2004 album Hot Fuss. And what better way for a Giants fan in agony to celebrate this moment of happiness than to revisit that album?
Hot Fuss kicks off with “Jenny Was A Friend of Mine,” one of three songs in The Killers’ so-called “Murder Trilogy” focusing on the death of an ex-lover named Jenny. Here, we hear Brandon Flowers being questioned about Jenny’s death, placing this song third in the chronology. The song begins with radio static and makes you feel like you’re entering the realm of the album in some kind of helicopter. Here, we hear a rare, rougher dimension to Flowers’s voice that works well with the song’s synth-based melody. Next is the maximally iconic “Mr. Brightside,” which is no doubt a wonderful song, but not all The Killers can do. It’s quicker and more energetic than “Jenny,” and details the activities of a cheating ex. As the first single off Hot Fuss, “Mr. Brightside” literally set the tone for the remainder of the album in 2004, but it also sets the tone in terms of mood now. Interestingly, the repetition of verses was not really a stylistic choice: Flowers explained, “I remember being in the studio, recording the demo but still writing the lyrics. I was procrastinating, and that’s why the second verse is the same as the first one, but it just stuck.”
“Smile Like You Mean It” is another synth-heavy track with an ominous-sounding chorus and vocal processing that contributes to the song’s atmosphere — the ideal atmosphere for Halloween, I’d say. “Smile” is followed by “Somebody Told Me,” one of my favorite songs from The Killers (along with “When You Were Young” off of Sam’s Town). Hot Fuss’s second single starts off with a rousing intro and has an extremely fun-to-sing chorus: “Well somebody told me you had a boyfriend / Who looked like a girlfriend that I had in February of last year / It’s not confidential / I’ve got potential / A-rushin’, a-rushin’ around.” It also features the perfect slow-down at the bridge, and even though these lyrics are clearly directed outwardly, it almost seems like Flowers is cuing himself when he says “Pace yourself for me.”
“All These Things That I’ve Done” is another popular one and includes a chorus performed by both Flowers and bassist Mark Stoermer. This track focuses on Flowers’s struggle with his Mormonism and has a gospel component made possible by the gospel choir The Sweet Inspirations — an appropriate addition given the song’s religious content. “All These Things” takes its inspiration from U2’s All That You Can’t Leave Behind and its bassline from David Bowie’s “Slow Burn.” Hot Fuss switches it up with the more measured “Andy, You’re A Star.” Flowers sings about a boy from his youth that made fun of him, and the distorted fuzziness of his voice really compounds this effect, making him feel distant. We also hear more of a vocal stretch from Flowers in the final chorus, which he does incredibly well.
I must say, I’m surprised I hear about “On Top” as little as I do. It’s super catchy and has an intriguing electronic element to it. “On Top” provides the album with a sense of place — Las Vegas to be exact, as it references the city’s Rio Hotel & Casino in the opening line. The song is somewhat ambiguous in meaning, but can be read through the lens of Flowers’ relationship with drugs. Regardless, The Killers find magic at the intersection of the synth and Dave Keuning’s guitar in “On Top.” “Change Your Mind,” about feeling stronger about someone else than they feel about you and wanting to convince them otherwise, is reminiscent of Neon Trees and is more upbeat and peppier than most of the rest of the record. “Believe Me Natalie” is a shift to the cinematic, and alternates between sounding like something out of the ’80s and the epitome of the 2000s.
“Midnight Show” is another installment of The Killers’ “Murder Trilogy” and details the murder of Jenny itself (the first prong in which the murder is planned can be found in “Leave The Bourbon On The Shelf”). Flowers sings menacingly, “Make it go away without a word / But promise me you’ll stay and fix these things I’ve heard / Make it go away,” and Keuning’s contribution on the guitar right before the bridge continues to amplify this effect. Despite all this, the outro still manages to be the best part of the song. “Everything Will Be Alright” emphasizes the role of distortion and proves that The Killers discography is all about a vibe. This track is about a rough patch in Flowers’s relationship during which he is in danger of losing his girl but talks himself into thinking things will be okay; he sings, “And you don’t need to compromise / I’m dreamin’ ’bout those dreamy eyes / I never knew, I never knew / But it’s alright, alright.” “Glamorous Indie Rock & Roll” caps off Hot Fuss and pokes fun at the fact that people call The Killers indie. The bass kills here — holds for applause — and the guitar and vocals are dramatic and sweeping. This song is amazingly underrated, and a stellar ending to a stellar album.
Like I said — as a Giants fan, I will take the doses of merriment where I can find them, because even small wins are wins. And getting the opportunity to listen to Hot Fuss again is, unequivocally, a win.
Test Spins is a fortnightly throwback column reviewing and recommending classic and underrated albums from the past. It runs every other Friday.
Sydney Levinton is a sophomore in the College of Arts and Sciences. She can be reached at [email protected].