Limited 180gm vinyl LP pressing. Hot Fuss is the debut studio album by Las Vegas-based rockers The Killers. The album was released in June 2014. Hot Fuss is mostly influenced by new wave music and post-punk. The album produced several commercially and critically successful singles: “Mr. Brightside”, “Somebody Told Me”, “All These Things That I’ve Done” and “Smile Like You Mean It”. The album reached #7 on the Billboard 200 chart and #1 on the UK Albums Chart. Hot Fuss had sold more than seven million copies worldwide, including more than three million in the United States and more than two million in the UK, where it has been certified seven-times platinum. It has also been certified platinum or multi-platinum in Australia, Canada, Ireland, and New Zealand.
|A1||Jenny Was A Friend Of Mine||4:04|
|A3||Smile Like You Mean It||3:54|
|A4||Somebody Told Me||3:18|
|A5||All These Things That I’ve Done||5:02|
|B1||Andy, You’re A Star||3:14|
|B3||Glamorous Indie Rock & Roll||3:11|
|B4||Believe Me Natalie||5:07|
|B6||Everything Will Be Alright||5:45|
Hot Fuss features eleven nuggets of reel-you-in storytelling genius and musical nectar. These eleven tracks span from the “very Vegas like Ziggy came to town” first proper single release “Somebody Told Me”;”Mr Brightside” – a tale of jealousy that depicts that moment in a relationship when you realize that your other half might be playing away and this thought takes up residence in your psyche feeding the worst fears and visualisations your imagination can then throw at you. Youll find two-thirds of a murder trilogy in “Midnight Show”, which starts off harking back to “Lipgloss” before veering into far darker territory than old Jarvis would ever have flirted with, in Pulp days at least, and “Jenny”. These two are connected by the story of a murder of a girl by her jealous boyfriend. The first part of the trilogy, “Leave The Bourbon On The Shelf”, will, you can be sure, make an appearance at some point in the future. Its a deliciously ambitious series that! belies the bands tender years. Elsewhere, meanwhile: “On Top” celebrates where Brandon feels the band is at, while stalkers tale “Andy Youre A Star” and “All These Things That Ive Done,” saw Flowers realize his dream of using a gospel choir in their recordings.
The Killers match postpunk guitars with a synthesizer overlay that recalls ’80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers (“Jenny Was a Friend of Mine,” “Midnight Show”), voyeurism (“Mr. Brightside”), and sexual confusion (the single “Somebody Told Me”), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there’s an occasional misstep (the painfully earnest line “I got soul but I’m not a soldier” from “All These Things That I’ve Done”), it seems of a piece with the Killers’ influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. –Rickey Wright
There are so many garage rock/dance-rock tunes perfectly stylized and glamorous for the pop kids in the city and in the suburbs of new-millennium America. What’s nice about these the bands producing these songs is how they strive so desperately to individualize themselves. On a commercial level, they do quite well in delivering catchy pop hooks. When it comes to having actual talent, a select few actually do possess attention-worthy integrity. But there are others who don’t, and they disappear from the American consciousness after a brief flirtation with success. Such theories, however, are left up to the individual music fan, so let’s put that aside for a moment to experience the decadent pop world of the Killers. The Las Vegas foursome introduce a perfectly tailored new wave-induced art rock sound on their debut, Hot Fuss. They wooed MTV audiences and modern rock followers with the success of “Somebody Told Me” during summer 2004. This chunky-riffed single loaded with androgynous mystery and a dalliance with new romantic energy captures the infectious delivery of the Killers as a band. Vocalist/keyboardist Brandon Flowers does his best Simon LeBon imitation; the sex appeal and the boyish charm are perfectly in place as the rest of the band accents his rich, red-hotness just so. “Jenny Was a Friend of Mine” and “Mr. Brightside” are equally as foxy as the album’s first single, affirming that a formula is indeed in motion. It’s hard to deny the sparkle of Depeche Mode beats and the sensual allure of Duran Duran. After 25 years, those sounds still hold up; by 2004, however, it’s an incredible task to pull this kind of thing off without selling yourself to the tastes of the masses. Interpol and the Walkmen have pulled it off; Franz Ferdinand and Hot Hot Heat have potential. The difference with the Killers is that the dynamic doesn’t firmly hold together. The gospel/rock jaunt of “All These Things That I’ve Done” doesn’t quit fit around the Cure-inspired synth reveries of “Everything Will Be Alright” and “Believe Me Natalie.” “Midnight Show,” as much as it plucks from Duran Duran’s “Planet Earth” and “Is There Something I Should Know?,” does show promise for the Killers. Hot Fuss came at the right time because the pop kids needed something to savor the summer with, and “Somebody Told Me” served that purpose. Now pull out your Duran Duran records and dance like no one is watching. [Hot Fuss was re-released on LP in 2016.]
About the Artist
Brandon Flowers (yes, it is his real name) had been dumped by his one previous group, a synth-pop outfit named Blush Response, when he refused to move with the rest of the band to L.A. Cruelly ditched, but inspired by seeing Oasis play, he saw that his life needed more guitars. When he clocked Dave Keunings small ad in a local paper naming that band as an influence and what with Oasis not exactly factoring in the pasty Vegas music scene he took it as fate that they should be together. Brandon and Dave met Ronnie Vannucci, a photographer at the Little Chapel of Flowers and student of classical percussion at UNLV, and Mark Stoermer, who was making ends meet as a medical courier (blood, urine, the odd body part all glamour). In between these couldnt-make-it-up day-jobs (Brandon, for the record, was a bellhop at the Gold Coast Hotel; whilst Dave garnered valuable training for his current all-the-ladies-love-an-axeman dilemmas whilst enjoying trysts with lady-shoppers at his Banana Republic job) the newly-complete Killers set to writing what we can assuredly state to be one of the most exciting debut albums youll have heard in a very, very long time. The band came to the attention of London-based independent label Lizard King, and they made their way over to the UK for their first ever gigs outside of Las Vegas and a limited edition release of “Mr Brightside” in September 2003. Those lucky enough to catch these first London shows came away pretty much unanimously enamoured (“A head-mashingly brilliant arsenal of tunes Right now few bands are a safer bet than The Killers”, glowed NME), while the groups subsequent appearance at New York industry fiesta CMJ in October saw a swarm-sized buzz surround the band and a worldwide (ex-UK) deal inked with Island Records.