THE KILLERS

“Sawdust”

When bands release B-sides, they’re normally filled with the most esoteric tracks suited for only the most fervent of fans. Sometimes it’s truly tragic when said band’s best work gets relegated to the cutting room floor. Such is the case on The Killers’ latest LP, “Sawdust” – a compilation of B-sides, unreleased tracks and raw to reworked versions of fan favorites that are fortunate to see the light of day. This album of alternates far surpasses its less-than-satisfactory last masterpiece – and for any person who was peeved by the puffery incited by “Sam’s Town,” this collection more than compensates for Brandon Flowers’ ego running wild on the band’s last try.

“Sawdust” really showcases a depth that didn’t before exist for The Killers, enlisting Lou Reed on opening track “Tranquilize” and nearly duplicating New Order on “Shadowplay.” There are shades of The Strokes and synth-pop on “Sweet Talk” and poignant, rollicking paranoia on “Under The Gun.” The band even manages to keep its bombastic bursts under control with the heartfelt “Show You How” – a song that starts with Flowers testing out the track via voicemail and slowly evolving into an epic prom-night spotlight slow dance. Ever yet, the Vegas boys also have fun on tracks like “Leave the Bourbon on the Shelf,” featuring a suspicious hand-clap sample reminiscent of J-Kwon’s “Tipsy.”

We may never know why these terrific tracks weren’t album-worthy, but at least we’re a little more certain of why The Killers didn’t totally want to leave them in the “dust.”

Verdict: Finally, a work that shows what the “hot fuss” is really all about.

SIGUR RÓS

“Hvarf/Heim”

Within today’s ever-evolving post-rock scheme, Sigur Rós is the prevalent patriarch with sovereign staying power. For a group with a sound so transcendent, it’s ironic that these Icelanders have titled their latest LP with words that translate to “Haven” and “Home.” Also a collection of B-sides and acoustic rarities, “Hvarf/Heim” awakens the imagination and grants listeners (that brand of seriously gritty, almost overly-involved music listeners) an organically beautiful and ethereal experience rarely found in modern recording. The album’s true beauty, however, lies in that it’s far from intimidating. For those foreign to Sigur Rós’ sensational spell, this is the work that will reel you in.

While the overall production value could be infinitely better, taking a trip through Sigur Rós’ “Hvarf/Heim” embraces something other-worldly. Lead singer Jonsi Birgisson’s flawless falsetto ties for first place with Radiohead’s Thom Yorke as it weaves seamlessly over a dream world of atmospheric guitars and keys. Indeed, the B-side “Hljomalind” sounds like it could have been left off of “OK Computer.” The remainder of the record emphasizes the strange and mystifying mode of mute communication – the ability to somehow speak volumes without words. Whether found in the bells and chimes of “I Gaer” or the gentle desolation built by wind, echos and empty freeways on “Hafsol,” Sigur Rós’ ephemeral escapist post-rock is a sound even the gods would find graceful.

Verdict: It’s a magical mystery tour tailored for today.

- Sami Promisloff