Hello, everybody. What a year, huh? It seems that COVID-19 has entirely put life as we know it on hold. But hey, the music world may be showing us a light at the end of the tunnel, as one by one, delayed albums are being rescheduled and coming out. Today, at long last, we are talking about Imploding the Mirage, the sixth album by alt rock legends, The Killers. This one was originally slated for release in May, before being delayed due to a combination of COVID-19 concerns, and complications with finishing the album. And the band had a lot to live up to with this one. The Killers boast a notably consistent discography, thus far in their career. Sure some albums are better than others, but even the lowest points are still pretty solid. Does this still hold true as of the release of Imploding the Mirage?
The answer to that question is a resounding YES. The Killers have given us yet another album that lives up to the standard of quality that we have come to expect from them. Sonically, we hear them continue in the sleek, cleanly produced, synth-rock direction that we saw them pursue on their 2017 release, Wonderful Wonderful. And while that album was a decidedly modern sounding indie pop excursion, Imploding the Mirage sees the band wearing their love for 80s rock on their sleeve, at times taking composition and production cues straight from Jack Antonoff’s playbook. Fortunately, at no point is the band’s identity lost. This is still very much a Killers album. The band’s heartland rock-inspired sense of mood and melody come through as strong as ever here, leading many of these moments to sound reminiscent of Bruce Springsteen. And while you all know how I feel about Springsteen, I actually think The Killers pull that sound off quite nicely here (mostly because Brandon Flowers can actually sing).
One of my favorite things about The Killers is their knack for writing compositions that make a standard rock instrument lineup sound massive and triumphant in a very orchestral way. And on Imploding the Mirage, they really take it to the next level. The entire runtime of this album is an adrenaline high brought on by big, yet carefully arranged instrumentation that is always engaging, and provides the perfect platform for Brandon Flowers’ incredible and unmistakable vocal performances (I’m sure it goes without saying that Flowers brings his A-game on this album). The synths alone form their own modern orchestra, filling all the different sonic spaces that a symphonic band might otherwise fill. Apart from the synths, bassist Mark Stoermer is the star of this album, providing thick, thumping basswork that fills out the low end beautifully, and truly shines on “Fire and Bone,” a surprisingly funky track on the album. The guitar does just what it needs to do, but ultimately takes a backseat for the majority of the album. This is most likely because this is the band’s first album without guitarist Dave Keuning (though he’s been shirking his Killers responsibilities for three years now, so at this point, good riddance). The band has yet to officially replace Keuning, so guitar duties are shared between bassist Mark Stoermer and producer Jonathan Rado, who definitely get the job done, all things considered. “Caution” features Lindsey Buckingham on guitar, and he ends the song with an excellent solo. Guest vocal performances by k.d. lang on “Lightning Fields” and Weyes Blood on “My God” are nice little additions to already effective songs.
As a writer, Brandon Flowers really stepped up to the plate on this album. Songs like “Caution,” “My Own Soul’s Warning,” and “Blowback,” have some of the most gorgeous and triumphant melodies in the band’s entire discography. Lyrically, Flowers spins tales of love, loyalty, ambition, reckless abandon, and hope. “Caution,” tells the story of someone leaving the comfort of their hometown to pursue their dreams, breaking completely out of their comfort zone, a general sentiment that repeats several times throughout the album, specifically on “Blowback” and “Imploding the Mirage.” “Dying Breed” is about having a friend’s back no matter what. “Lightning Fields” is about the feeling of always needing to be with the person you love. An album of songs this positive and hopeful is truly a blessing that we needed this year.
If this album has one fatal flaw, it is that it follows a pretty consistent sound and structure, and many of the most memorable cuts are found on the first half. Not that there aren’t great songs later in the album (“Imploding the Mirage” is an excellent closer, for example), but many of the moments that leave the strongest impression, such as “Caution” and “My Own Soul’s Warning” are found very early on. As I said, the sonically beautiful and triumphant nature of this album never lets up, making for a thoroughly enjoyable listen top to bottom, but songs that show up later on, such as “Running Towards a Place” and “My God” can come off as forgettable, compared to the very strong first half of the album.
Overall, The Killers have given us another album that is every bit as good as any fan could expect. Even if not every song is a winner, the best songs Imploding the Mirage has to offer could easily stand among the best in the band’s discography. The album’s consistent mood and compositional style make for an engaging listen, and Brandon Flowers’ emotive delivery of his very clearly heartfelt lyrics make this album a pretty easy sell to any fan of The Killers. With the band’s catalogue being so consistently good, it’s hard to definitively rank this album within their discography, but I can definitely see it becoming a favorite. The Killers have been on a winning streak for their entire career thus far, and I hope it doesn’t end anytime soon.
Score: 8/10
Favorite Song(s): Caution, My Own Soul’s Warning, Blowback, Imploding the Mirage
Least Favorite Song(s): My God, Running Towards a Place
Phil Klinker Music Reviews 