The Killers
Sawdust

THE REVIEW

A beautiful cover and 17 songs: this is how "Sawdust" presents itself, a collection of unreleased tracks, B-sides, rarities, remakes, and covers by the Killers. It's an album that stands apart from the band's other three releases from Las Vegas; it's not to be gulped down but savored little by little, song by song, like a bottle of fine whiskey. The total duration (72 minutes) might be excessive, given the presence of a handful of true outtakes that add nothing to the Killers' work, but among the "sawdust," there are songs of great depth that elevate "Sawdust" to a precious chest of hidden treasures.

The jewel of the album is undoubtedly "Tranquilize," a psychedelic-pop masterpiece with a distinct and unique atmosphere, enriched by a classy finale performed by a rock legend like Lou Reed. This song alone is worth the price of the album and is to be considered a classic of the Las Vegas quartet, but "Sawdust" is not just "Tranquilize." There's a trio composed of the energetic "All The Pretty Faces", which references the famous "Tainted Love" by Soft Cell without losing its own strong personality, the stunning "Sweet Talk," an electronic whirlwind (anticipating some atmospheres of "Day & Age") in which Brandon Flowers delivers a breathtaking vocal performance, and the eccentric "Where The White Boys Dance," whose psychedelic and sleepy nature is completely transformed by the guitars in the finale. It doesn't seem like it, but these three songs come from the "Sam's Town" sessions, and it was a very clever move to "redirect" them to "Sawdust," as they are appreciated here in all their value without creating contrasts that would have partly spoiled an album centered on a well-defined sound identity, like "Sam's Town."

Other heavy hitters from the "Hot Fuss" sessions are "Leave The Bourbon On The Shelf," rickety and passionate, "Under The Gun," catchy and punkish, and the masterpiece "The Ballad Of Michael Valentine," a fun and compelling potential pop rock single that I wouldn't have excluded from the "Hot Fuss" tracklist even by mistake. The three covers are also of excellent quality: the shadowy "Shadoplay" by Joy Division, centered on an electronic and very psychedelic sonic fabric, the light "Ruby, Don't Take Your Love To Town" by The First Edition, a pleasant vaguely Beatles-esque ballad, and "Romeo And Juliet," Dire Straits' flagship song, perfectly interpreted in all its melancholic sweetness by a magnificent Brandon Flowers. Added to these is the piano & voice version of "Sam's Town," which, despite a completely transformed chorus, retains all its impact and charm, and a "Mr. Brightside" remixed and stretched with electronic beats that don't distort its melody and essence, concluding with a short and amusing ghost track titled "Questions With The Captain."

Staying on the theme of reinterpretations, the one of "Glamorous Indie Rock And Roll" is decidedly superfluous, losing much of the incisiveness of the original "Hot Fuss," just as superfluous are the intangible "Show You How," the embarrassing "Who Let You Go?," vying with "Joy Ride" for the title of the worst Killers song, "Move Away," a funk performance in the RHCP style not entirely convincing, and "Daddy's Eyes," an inferior remnant from the "Sam's Town" sessions.

Overall, "Sawdust" is a very well-crafted compilation, interesting and of great value, ideal for delving deeper into the knowledge of this great band. If you don't know them yet, start with what I consider their masterpiece, "Sam's Town," or the amazing debut "Hot Fuss."