Released: 13 August 2021
The Killers explore new sonic landscapes on their latest album ‘Pressure Machine’.
The group’s seventh album comes less than 12 months after they dropped the synth-pop inspired ‘Imploding the Mirage’ last August and showcases a shift in sound.
While that record was packed with commercial hooks and big, bold, electronic instrumentals, ‘Pressure Machine’ strips back all the nuances for a more introspective collection, inspired by frontman Brandon Flowers’ formative years.
Centred on Nephi, Utah, where he spent parts of his childhood and teenage years, the LP touches on themes of substance abuse, economic strain and lack of opportunities, with Bruce Springsteen’s classic ‘Nebraska’ album an obvious reference point.
It’s hardly surprising, then, that Brandon recently teamed up with The Boss on a re-recording of the band’s 2008 single A Dustland Fairytale, with both publicly sharing their admiration for one another.
But such strong references mean the group risks disappointment, and while ‘Pressure Machine’ excels in its narratives, it lacks in the charm of Springsteen’s seminal record.
That’s not to say the songs themselves aren’t strong – opener West Town gives the album a backdrop while tracks like Quiet Town and In The Car Outside hone in on individuals as part of the wider landscape.
The Getting By, about hope and dwindling faith, is of course all the more poignant in light of the past 16 months, and Terrible Thing, a heartbreaking story of a closeted queer teenager plagued by suicidal thoughts, is inspired by one of Flowers’ childhood friends and one of the strongest tracks here.
But at a time when escapism is in high demand, what the LP lacks is romanticism and a thread of silver lining running through its core.
Perhaps in 20 years we’ll look back at ‘Pressure Machine’ as a career highlight, but right now the weight of the album sits a little too heavy to truly appreciate its merit.
