Brandon Flowers 2nd Solo LP 'The Desired Effect' is an '80s Throwback Thrill Ride

The Killers have always been rooted in the '80s. The Nevada-based band's name was taken from a logo on the bass drum of a fake band called "the Killers" in the New Order music video for "Crystal." On their debut record "Hot Fuss," they channeled new-wave bands like New Order, Joy Division, The Cure, the Smiths and David Bowie. On their follow up albums "Sam's Town" and "Day & Age" the Killers explore a different side of the '80s and honed in on the epic heartland sounds of Bruce Springsteen, Tom Petty, U2 and Duran Duran.

That grandiose widescreen charm continues on "The Desired Effect," the second solo album by the Killers' front man, Brandon Flowers. But Flowers, who was 22 when the first Killers' album dropped, has matured. Now 33, he's looking to restrain himself and doesn't strive to be a caricature of '80s pop icons. Thanks to Grammy Award-winning producer Ariel Rechtshaid (Vampire Weekend, Haim, Charli XCX, Solange, Madonna, Sky Ferreira), who has become something of a King Midas in pop music, Flowers sounds polished but he never loses his edge or the qualities that make him and his music so appealing.

Leading up to the release of "The Desired Effect," Flowers released four singles, each more perfect than the last. "Can't Deny My Love" is a booming track that may be one of the best songs Flowers has ever sung. It's electric and spastic, like a Pet Shop Boys cut you've only dreamed about. (Fittingly, Neil Tennant, one half of the Pet Shop Boys, contributed backup vocals to "Can't Deny My Love.") While "Can't Deny My Love" is bold, it's the little tinges that Rechtshaid provides that elevate the cut from good to stellar: wooden pan flutes, dusty synth patches and electronic drum pads give "Can't Deny My Love" a subtle nostalgic glow that feels like Flowers plucked the track straight out of 1986.

"Still Want You," the second single, is a heroic love song that suggests Flowers has been listening to a lot of George Michael - anonymous female choirs carry the track's hand-clapping hook. It's powerful and a little weird as the song is centered around a goofy keyboard riff that has Rechtshaid's thumbprint all over it.

Flowers followed up that song with "Lonely Town," which is the best thing on "The Desired Effect." It's a dusty retro Springsteen jam that is actually quite depressing: "I always thought things would change but they never did," Flowers sings. For those who grew up in small dead end towns, there's always a thought in the back of their minds that, some day, they'll get escape and things will get better. But what if that doesn't happen? Though Flowers may be too much of a pop star to be singing about nine-to-five jobs, he's no different from Rihanna who does the same on two of her singles this year.

"I Can Change" is a sultry powerhouse that, once again, finds Flowers calling on Springsteen and Petty. It's a top tier Flowers / Killers cut and one of his better stadium rock anthems to date. Though it's a rugged song, it heavily samples the chamber-pop Hi-NRG 1984 gay anthem "Smalltown Boy" by Bronski Beat. That queerness is something Flowers has long explored ever since the days of "Hot Fuss" - the Killers' first breakthrough single "Somebody Told Me" (a song about falling in love with a transgender prostitute) and "Andy You're A Star" (about a popular high school jock on whom Flowers had a crush).

Despite being Mormon and stirring up some controversy in 2011 for starring in a Mormon campaign video with his family, Flowers has long had a gay fan base - he's highly attractive and isn't afraid of writing gushy songs with a boyish charm. In the early days of "Hot Fuss" he wore eyeliner and flailed about on stage. And number of his musical influences, which show up on "The Desired Effect," are queer (Queen, Bowie).

"Untangled Love," for example," is a sparkling glam-rock song with lots of rustling guitars and sharp pianos. "Between Me And You" finds Flowers at his quietest, where he gives a breathy and dramatic performance.

The best thing about "The Desired Effect" is that, while it calls a lot on Flowers' '80s influences, it never sounds like he's ripping off anyone. Every cut on the record feels like a familiar '80s pop song; the tracks are like nostalgic daydreams that have finally been created, thanks to Flowers' earnest songwriting and Rechtshaid's impeccable production.