Too Weird To Live, Too Rare To Die! is a perfect definition of Panic! At The Disco. They are too unique to stick to one particular sound, but too creative to go away anytime soon. With a variety of releases, they have gathered a wide ranging fan base, but despite the constant changes in both sound and members, they have managed to come out of the fire not only in one piece, but refined like gold and better than ever. Too Weird To Live, Too Rare To Die! is a culmination of all of their albums, and still points to the future and what it may yet hold.
Drawing heavily from their first and third albums, Panic! moves in a largely electronic direction, which is expected if you've followed their career at all. Synths, drum machines, and an eclectic assortment of electronic noises drive the latest batch of songs from Panic!, but they are also interwoven with gritty guitars, rock-oriented drums, and, of course, Brendon Urie's soaring and theatrical voice. These elements all come together to create just over a half hour of a musical roller coaster, filled with twists and turns, highs and lows (but not too many of those). It kicks off with the heat beat intro of "This Is Gospel", which was one of the lead singles and one of the best songs Panic! has ever put out. The vocals and harmonies are fantastic, and each verse leads into the explosive chorus, filled with stadium ready drums, roaring guitars, and sing-along lyrics. Panic! manages to keep their lyrical weirdness that set them apart all those years ago, but still has moments of clarity, and being relatable, with lines like "if you love me let me go" and "the fear of falling apart" becoming anthem cries for teenagers as they listen along. This song slides right into the other lead single, "Miss Jackson (feat. Lolo)", a Fall-Out-Boy-My-Songs-Know-What-You-Did-In-The-Dark sounding anthem, which is not a bad thing at all; it just doesn't seem quite as original as it should. I still very much enjoy the song, with it's contrasting elements, going from low-key bass led verses to sharp drums and whining guitar filled chorus. It is one of the harder hitting songs, and has a more intense feel to it.
This vibe is continued throughout the album, with songs like "Vegas Lights", "Nicotine", and "Casual Affair" all keeping up the intense nature in different manners. "Vegas Lights" takes on a more fun-natured vibe, yet still sounds fierce thanks to it's driving beat and the few synths that provide a edgy vibe. The children's countdown as an intro is a tad bit creepy, but the song unfolds into alternative/electric genius. It's by far one of my favorite songs, thanks to the catchy nature of both the vocals and the electronic elements. Another song that follows in this catchy fashion is "Nicotine", a fast paced song that inspires clapping along and dancing to the beat. It has some electronic elements, but leans more towards traditional rock instruments, being led by guitars, bass lines, and resounding drums. The bass line during the pre-chorus is excellent, since I'm a sucker for a good bass. I also enjoyed the acoustic piano that can be found when the song brings the energy level down, adding a different vibe than the more commonly found electronic elements. However, just a few songs more into the album is "Casual Affair", the heavily electronic-laden piece, which is both beautiful and haunting at the same time. This collision of sounds is created mainly by Urie's vocals, the repeating synth line, and the echoing drums. Urie's voice provides both the beauty and a chilling sense thanks to his vocal sound being combined with echoing effects and a bit of auto tune, which I think is a fantastic fit with this song. Some people might complain simply because it's being used, but it's not to make up for his voice or cover mistakes; it's simply to complement the song itself. This song also has a swagger to it, which makes me think that this might have been where the hip-hop influence Urie mentioned in an interview about the album comes in.
The whole album isn't edgy and dark, however; a nice 80's pop influence helps provide some fantastic upbeat tunes. "Collar Full", led by synths and a very 80's style drum beat, provides some fun for the listener. The happy nature of this song is infectious, and you can't help smiling and wanting to move to the beat. It rides the line of annoying catchy perfectly, feeling preppy yet not totally care-free. "Girl That You Love" is another song that exemplifies this 80's influence, thanks to some excellent toms and pulsating synth lines. It has a bit of a darker nature than "Collar Full", but is not a mood-killer, thanks to the driving beat and added staccato guitar lines during the chorus. "Far Too Young To Die" follows in this nature, opening with a steady beat and synth that bring to mind a multitude of movie scenes in 80's clubs. It moves into a more modern nature when the vocals kick in, which are the best part of the song in my opinion. Urie has a voice that can change from incredibly upbeat to intense and emotional. This song strays more towards the latter, but not in a manner that depresses you. It's just splendid to listen to, whatever he ends up doing with it. Not all of the songs make you want to pull out your roller blades and leg warmers, however; an upbeat nature can be achieved without bringing back those days. "Girls/Girls/Boys" is in the same line as "Collar Full", but differs in style. A more mellow sound and stripped down combination of groovin' bass line, simple drums, and a slightly distorted guitar to create a solid song about relationships and (obviously) boys and girls. Finally, the closing tune "The End Of All Things" is a dramatic turn from everything else on the album. With an eerie, haunting, and emotional sound, this song stands apart thanks to the simple instrumentation of just a piano line and Urie's vocals. It brings down the energy, especially from the previous song, but shows some incredible musicianship. The vocals are fantastic, with the effects and harmonies coming together to be both digital and human, revealing a rawness, yet also being polished simultaneously. The strings at the end of the track solidify the somber nature, and create a fitting end to this wild ride.
Rating? 4/5
Track-list:
This Is Gospel - 3:07 (5/5)*
Miss Jackson (feat. Lolo) - 3:13 (5/5)*
Vegas Skies - 3:09 (5/5)*
Girl That You Love - 3:09 (4/5)
Nicotine - 3:07 (5/5)
Girls/Girls/Boys - 3:27 (4/5)
Casual Affair - 3:18 (5/5)*
Far Too Young To Die - 3:17 (4/5)
Collar Full - 3:18 (4/5)
The End Of All Things - 3:32 (5/5)*
(* tracks indicate recommended downloads)
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