The lyrics, rather than the music, are the strength on this record, painting a complete portrait of urban isolation and dissatisfaction.
Full of swelling choruses and underdog stories, the record delivers on its promise that The Killers haven’t gone anywhere.
Through his songs about pain and struggle, the common theme at all of his shows is love; Bradley constantly embraced his audience with cries of “I love you! I love you!”
While it might be hard to laugh sometimes in a world full of pain, Lekman sets us all the challenge of leaning into our feelings and responding to the world with love.
What makes DAMN. most exciting, though, is that its release feels like part of music history.
Calling this an album almost feels misleading—each track operates more as a confessional than a song.
Looking back at the past while still acknowledging that it's time to move on is a real show of maturity from a guy who was once considered the enfant-terrible-turned-drunk-uncle of indie rock.
Simply put, a good score can stand on its own even without the movie and be remembered indefinitely whenever it plays. This year’s nominees are no exception.
Originally totally unaware of their monumental influence on an entire genre, the group still seems surprised by the meteoric success of American Football (LP1) since their hiatus.
The drumming was incredibly tight, the bass rumbled, and the guitars crunched and consumed the room. Bolm’s voice sounds just as it does on record: powerful yet fragile and controlled when shouting, somber and bassy when singing.