Panic! At the Disco – Too Weird to Live, Too Rare to Die

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Did Panic even want to make this album?

Every Panic album makes some kind of statement. Even Vices & Virtues had a clear aim, which was to deliver a straightforward Hard Rock record. When Panic have a target to aim for, they’re unstoppable. “Vegas Lights” is your ordinary dance song about partying until you drop. It’s not original and Urie adds nothing of his own, but it still bangs and the chorus is great.

Everything else is confusing. What’s the purpose of this record? Is it mean to be some record inspired by Vegas? Then Vegas isn’t such a fun place. “Girl That You Love” is very serious and it’s a huge downfall from the fantastic “Vegas Lights” which comes before. “This is Gospel” is okay, but a weird opener. All the whoa-whoa in the chorus and it still feels too serious, like partying is for shallow stupid people. Urie comes off like he’s hoping to pick up girls in a dance party by looking serious.

If this is supposed to be cliched 80’s, it’s the bad stuff. It’s not the weird party music that Oingo Boing or early Underworld made. Rather, it’s Rock music with a little noise, a little dance backing and vague sexuality. It’s so toothless you wonder whether the cool kids will prefer this over the weirdos who tried to combine Industrial with Synthpop.

In fact, Urie doesn’t commit to the concept. “Casual Affair” is a Space Rock rock, and a decent one. The weird wobbles leap out, sounding like they’re inspired by Brostep without actually attempting it. The ballad “Far Too Young to Die” have no room in here. While it’s nice to see Urie trying to bend genres, he doesn’t throw himself into these ideas like he should. The boring melodies overpower the sound, instead of the sound inspiring the melodies.

Then again, perhaps it’s good that he doesn’t try too much to make party music. Aside from “Vegas Lights”, “Nicotine” and “Girls/Girls/Boys” are very uninspired. The former is a joke. Urie stretches his voice in some way to convince me or you that the party is on with serious lyrics. The horns in the chorus aren’t new, but they were better a few years later in “Crazy=Genius”. The latter is another joke, a rewrite of “Somebody Told Me” about gender confusion that’s not sexy or stupid. A rock band just wrote a song about sex that doesn’t even have macho bullshit.

What went wrong here? Panic’s strength is how traditionally ROCKSTAR! Urie is. He always sounded full of bravado, sneering at everyone while having a party. Making party rock should be the ideal for him. It should allow him to brag and boast about how cool he is.

Here, he sounds and unsure and desperate to appeal to people. So he puts a semi-dance beat behind a weak chorus with lyrics that aren’t too serious and not too light. I’m sure some people are impressed by generic sentiments like ‘show me your love’ over muted guitars and drums, but all I hear is a band who doesn’t want to make this kind of music. “Vegas Lights” and “Miss Jackson” sounds so bizarre in context. Urie actually sounds like he wanted to make those songs. They have a specific sound and as generic as “Vegas Lights” is, at least Urie sounds passionate about a simple dance song.

Panic moved on from this and made the excellent Death of a Bachelor. That one shares similarities with this one, only it’s good. Whether it’s soft or tough, Urie throws himself into his ideas fully. This album sounds like a band at its beginning that’s afraid of drawing criticism. If you’re afraid of drawing criticism, you’re not worth anyone’s attention.

2 girls out of 5 boys

Joy Division – Unknown Pleasures

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I am depressed.

Like many angry young men, I had a philosophy I stuck with. I thought that sticking to my principles was itself an admirable trait. Hypocrisy was defined as changing your mind. Since I wanted the moral high ground, among the reasons because I didn’t have much to boast about, hypocrisy was out of the question. The world was wrong. I was right. My opinion will defeat you all.

I was angry, but there was some sort of confidence. The path was clear. I thought I knew everything, which meant I knew where I was going. I also was, apperantly, as rational I bragged about. My ideas kept being challenged. They gradually changed. It didn’t happen over time, but I went from thinking sex is an evil force to it being something positive that we just can’t handle. I went from hating alcohol and all drugs to understand each drug should be judged on its own. I went from thinking you don’t need friends to thinking being social is a necessity.

The music I used to listen to back then was loud and angry. It also used to have something resembling confidence. I blasted Nu Metal, which was angry but had bravado. A little later I found myself blasting Nine Inch Nails, Local H Marilyn Manson. That’s when the self-doubt and self-loathing reared their heads. The anger at everyone was still there, but I started to admit I’m confused. There was even a brief period of listening to a lot of Glassjaw, which helped me through my toughest heartbreak.

After about eight years of exploring music, here I am finally listening to Unknown Pleasures. The album was always there. Its influence is everywhere on my favorite music. It took all these years, and all these changings of the mind for me to ‘get’ the album.

That’s not really a good thing.

That’s because I’m not that angry anymore. I don’t have the energy to hate the world, or women, or sex, or television. Everything just seems hopeless and meaningless. Everything is bad, but nothing specific and there’s no ideal to fight for. It’s an emptiness, which this album describes perfectly.

Sparse is the common description for Unknown Pleasures. You couldn’t find a better one. A band member said the producer made them sound like Pink Floyd, but Pink Floyd had space. The sparseness of Unknown Pleasures is not just a production technique but the way the songs work. Nothing takes the center. Nothing drives the songs, beyond the drums in “She’s Lost Control”. It’s no coincidence it’s the most accessible thing here.

“Candidate” and “Interzone” are the two defining tracks here. The first is the emptiest thing here. Its last seconds sound emptier than silence, and the guitars barely appear in it. “Interzone”, on the other hand, is an attempt to inject some energy. There’s even a guitar riff that could make for a nice single. Even that’s pushed to the back though. The song is a fast driving rocker, yet the guitar is distant and Ian Curtis sounds like he knows it won’t end well, but fuck it he’ll try anyway.

The sequencing is also great. Unknown Pleasures is not a concept album, but it flows like an exploration of a depressed mind. “Disorder” feels slightly brighter and rational, while “Day of the Lords” sink back into complete agony. On the aforementioned “Candidate”, the agony went for so long that there’s no longer will to express it. “Wilderness” and “Interzone” offer a glimmer of hope. The first speeds up things a little, as if the protagonist saw the light. “Interzone” has already been discussed. Then the album ends with “I Remember Nothing”, which sinks back into the emptiness.

It’s a wonder that the whole band didn’t kill themselves after this record. There is sadness, and there is emptiness. A strong feeling of sadness might still imply there could still be something out there, something worth feeling bad over. The emptiness of Unknown Pleasures says there’s nothing worth looking back at and nothing worth looking forward to. Doesn’t that sound like a suicidal mind?

Post script: This review was written a long time ago but I didn’t want to post it. I don’t know if things changed since I wrote it. My environment did, but the future still looks cloudy. I haven’t gotten over that emptiness. Things are better than before, but not by much.

3.5 days out of 5 lords