Wonderful Wonderful (Deluxe) The Killers

Album Info

Album Veröffentlichung:
2017

HRA-Veröffentlichung:
22.09.2017

Label: Island Records

Genre: Rock

Subgenre: Adult Alternative

Das Album enthält Albumcover

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  • 1Wonderful Wonderful05:10
  • 2The Man04:10
  • 3Rut04:24
  • 4Life To Come04:32
  • 5Run For Cover03:42
  • 6Tyson vs Douglas04:34
  • 7Some Kind Of Love04:38
  • 8Out Of My Mind03:44
  • 9The Calling04:02
  • 10Have All The Songs Been Written?04:10
  • 11Money On Straight03:35
  • 12The Man (Jacques Lu Cont Remix)04:16
  • 13The Man (Duke Dumont Remix)03:52
  • Total Runtime54:49

Info zu Wonderful Wonderful (Deluxe)

Fünf Jahre nach ihrem letzten Studioalbum Battle Born erscheint mit Wonderful Wonderful das fünfte Studioalbum der Band aus Las Vegas, Nevada. Bereits jetzt gib es die Songs "The Man" und "Run For Cover" zu hören.

Wonderful Wonderful entstand gemeinsam mit Produzent Jacknife Lee (U2, Snow Patrol, Robbie Williams) in Los Angeles und Las Vegas. Die Zusammenarbeit kam auf Empfehlung von U2-Frontmann Bono zustande. Zu den weiteren Mitstreitern auf Wonderful Wonderful gehört auch OneRepublic-Mastermind Ryan Tedder, mit dem der Song "Life To Come" entstanden ist. Als Feature-Gäste haben sich die Killers Hochkarätiger wie Brian Eno ("Some Kind Of Love") und Mark Knopfler ("Have All The Songs Been Written?") ins Boot geholt. Die neue Single "Run For Cover" schlummert schon länger im Killers-Songarchiv. Vor knapp neun Jahren wurde "Run For Cover" geschrieben, doch erst jetzt ist die Zeit reif für die überarbeitete Version. Im Interview verriet Flowers ein paar Details über das kommende The Killers-Album, u.a. dass es auch von "dunkleren Territorien handelt, von Selbstreflektion, vom Älterwerden und davon, wie schnell die Zeit vergeht."

„Frontmann Brandon Flowers bezeichnet „Wonderful wonderful” als „das erste erwachsene Album“ seiner Band. Fünf Jahre nach „Battle born“ hatte der Amerikaner laut eigenen Worten keine Lust mehr, Songs mit Blick auf mögliches Radio-Airplay und den ständig fluktuierenden Massengeschmack zu produzieren. Tja, Pech gehabt. Auch wenn (oder gerade weil?) die Melodien gelegentlich etwas zickiger ausgefallen sind, werden die Nummern dennoch weltweit bei den Sendern rauf und runter laufen. Und das Publikum an den Geräten wird sie lieben. Da wäre beispielsweise „The man“. Hier trifft alternativer Rock auf New-Wave- und Disco-Feeling - eine unwiderstehliche Melange. Und dann gibt es da ja noch die majestätischen Hymnen „Rut“ und „Have all the songs been written?“, das verträumt-melancholische, herrlich leichte Sommer-Lied „Life to come“, das treibende „Run for cover“ oder das sphärische „Some kind of love“ - alles gnadenlose Ohrwürmer. Gut, dass sich Flowers & Co. diesbezüglich nicht bemüht haben. Wer weiß, was sonst passiert wäre. Denn so haben sie eine nahezu perfekte Pop/Rock-Platte erschaffen.“ (EMP Redaktion)

Brandon Flowers, lead vocals, keyboards
Dave Keuning, guitar
Mark Stoermer, bass, guitar (tracks 2, 12, 13)
Ronnie Vannucci, drums, percussion

Produced by Erol Alkan, The Killers, Jacknife Lee, Stuart Price




The Killers
Brandon Flowers (vocals/keyboards), David Keuning (guitar), Mark Stoermer (bass), and Ronnie Vannucci (drums) took the fashionista pop world by storm in summer 2004 with "Somebody Told Me.

It had to happen eventually. When you survey previous exports from the city of Las Vegas: an assortment of suspect hair metal bands; one-hit wonder Toni Basil; err. Andre Agassi. It was only ever a matter of time that a group would emerge from Sin

City to wipe the slate ceremoniously clean, giving the inhabitants of that Nevadan outpost some fresh hope and an escape from their culturally underperforming past.

It's evolution, see. The unique habitat in which our subjects developed, their native characteristics shaped by external factors (in this case Messrs. Morrissey, Bowie, Ocasek, Gallagher, Presley, Smith, Sumner, Corgan, Cocker, Byrne, Lennon, to name but a few.) would go towards creating a band so clearly the product of their environment and yet so perfectly adapted to becoming a truly dominant species in the world of pop. Ladies and Gentlemen, I present to you

It was late 2002. 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 (incredibly, the Brothers Grim had made it all the way to Vegas in one piece) he saw that his life needed more guitars. When he clocked Dave Keuning's 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. "He was the only person to reply to my ad who wasn't a complete freak", remembers Dave, fondly. "He came over with his keyboard and we started going through song ideas straight away. I had the verse to "Mr Brightside" and he went away and wrote the chorus. That was the first song we wrote together and remains the only song that we've played at every single Killers show".

So far so romantic, then. The early core of the band was cemented and their amazingly-previously-unused moniker appropriated from a New Order video. The premise of said promo was - since New Order themselves were looking rather on the chubby side - to represent in the promo the perfect band - with the greatest song as well as model good-looks and youth on their side - to represent Barney & Co. That band was called The Killers. "It gave me the ambition that our actual band should be as perfect as their fictional band," says Flowers. And so began our heroes' journey...

After trying out a couple of different bass players and drummers, 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 couldn't-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 you'll have heard in a very, very long time.

Writing in 120 degree temperatures in the garage that became their rehearsal room provided a suitably intense hot-housing effect. And when they couldn't get into the garage they'd use Ronnie's spymaster knowledge to gain mid-night access to the facilities available at his University's music school. "There was about 2000 sq ft of luxurious practice space complete with drum sets, marimbas, cymbals, pianos etc. So, for about a month or two we lugged a Marshall to sing out of, a Deville to play the axe through, a Bassman for the keyboard, a bass cabinet for Mark and I used the UNLV pep drum band set," reminisces Ronnie. "Though I'd like to make clear that no instruments were mistreated during this time as we are, and continue to be, respectful, professional and, last but not least, resourceful musicians."

It was during these pressurised sessions that The Killers began to live up to the expectations commanded by the roots of their name and wrote the bulk of the songs that were to comprise their debut album, the fittingly-titled Hot Fuss. Prolific writers, they were unearthing songs of jealousy and paranoia; tales about murderers, stalkers and Studio 54 AIDS victims; androgynous girlfriends and cuckolded boyfriends; and songs of ambition and the desire to rise above the everyday.

Word soon spread further afield about The Killers. 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 (for some of the band this was even the first time they'd needed a passport) 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 group's 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.

From here, the boys set to work once more: touring the UK with British Sea Power; selling out their own headline shows, including a packed Valentines' Day extravaganza at London's ICA; effortlessly upstaging Stellastarr* on a further support tour and, amidst all this, confidently self-producing their record, with final mixing expertise provided by the legendary Alan Moulder (U2, Smashing Pumpkins) and Mark Needham (Fleetwood Mac).

It wasn't all plain sailing, of course - there were mishaps aplenty over the three months that the recording took. The band were rocked by an earthquake that propelled Ronnie from his drum stool during the recording of "Believe Me, Natalie"; they had to battle through fires in the Simi Valley to get to the studio to record "Change Your Mind" (which appears on the U.S version of the LP); oh, and they thought they were actually going to die when their plane hit an air pocket and started free-falling while on their way back to the UK for their gigs in December 03. But somehow they made it through, and here we are, with The Killers all set to release their debut album.

Hot Fuss features eleven nuggets of reel-you-in storytelling genius and musical nectar that belie the incredible truth that, when it's released on June15th, chief songwriter and lyricist Brandon Flowers will still only be 22 years old. These eleven tracks span from the "very Vegas - like Ziggy came to town" first proper single release "Somebody Told Me" (which glided into the Top 30 in March 04); the aforementioned "Mr Brightside" - a tale of jealousy that depicts that moment in a relationship when you realise 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. You'll find two-thirds of a murder trilogy (oh yes - don't rule out the possibility of a future concept album) 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 ("There was water involved," says Brandon, cryptically, "although he didn't drown her"). 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. It's a deliciously ambitious series that belies the band's tender years, and they've already decided they'll be calling on our favourite dark lord actor James Spader for the video.. Elsewhere, meanwhile: "On Top" celebrates where Brandon feels the band is at, while stalker's tale "Andy You're A Star" and "All These Things That I've Done," a future smash hit if ever we heard one, saw Flowers realise his dream of using a gospel choir in their recordings. This choir - "Sweet Inspirations" - are best known for their work with Elvis Presley, Jimi Hendrix, and Aretha Franklin. "It was such an amazing experience working with the choir in the studio that we decided to incorporate one into special live shows, including the the Spin Magazine show [at SXSW 04]," says Brandon

"Hot Fuss" is, to sum up, a triumph. A triumph that will see the light of day concurrently in the UK on June 7th, and June 15th in the U.S. It will be accompanied by a major touring as well as a prestigious appearance at California's Coachella festival and closely followed in the UK by an appearance at Glastonbury at the end of June.

And as for A Tale of Killers Future? Well, whatever it may hold, you can bet your bottom dollar that it's going to be a blast.



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