Papa Roach – Crooked Teeth


While Papa Roach’s previous album was decent, it also put the band at a crucial point. The songs lacked emotional punch, were nothing but decent stadium anthems but had nothing going to them besides things to sing along to at shows. It didn’t even sound like the band could pretend to have emotions. They didn’t even try to make tools for venting your frustration. So while pretty melodies like “Falling Apart” are nice, they had to give us something more or quit music. It’s been this way for a few albums now, but F.E.A.R. was their driest record yet.

And Crooked Teeth is exactly the kind of album I wanted from them, yet I never thought they were capable of making it. Sure, I believed they could crack an earworm or too. So when “Help” dropped, it was a good sign. It was ordinary mid-tempo rock, but there were subtle differences that hinted at a sense of purpose. Acoustic guitars were quite prominent and the vocals weren’t as explosive, adding a layer of vulnerability. It’s still an anthem, but it now had a bit of that shallow emotional sentiment that makes it work outside stadiums.

Then there was “Crooked Teeth”, which of course was praised because it was loud and we all know Pop music is bad. It’s not just the noise, though – it was truly chaotic, opting for a half-screamed verse and the band just hammering on their instruments. Most weird as the short Hip-Hop break in the middle. In the past I said “Gravity” was a brilliant career highlight but I wrote it off as a fluke. Most of this record builds from there.

You can’t escape how Hip-Hop-driven this record is, as if Papa Roach looked to the controversy surrounding Linkin Park and decided to replace them. Papa Roach were some of the worse genre-benders in Nu Metal and their rapping didn’t add much back then. Here, though, the rapping is far more focused and smooth.

Shaddix sounds like an actual rapper, having an actual flow and adopting the right tone for rapping. Even for someone used to Rap-Rock, these songs are confusing at first. “Break the Fall” and “My Medication” might as well be Hip-Hop with some guitars. Later they even adopt the genre’s bragging antics for “Born for Greatness”, where they also use their guitars for a bass drop. Add the cheery, easy vocals and you have a fantastic, chest-beating anthem that sounds confident and huge.

This rediscovery of Hip-Hop either causes, or a symptom of rediscovery of purpose in their music. Each song has its unique vibe now, nothing sounds like just another anthem. The aforementioned “Help” would sound generic in any other album, but here it’s one of a kind. Its subtle unique traits, like letting the acoustic guitars stay prominent rise to the surface. On “My Medication” and “Break the Fall”, they re-capture the spirit of teen angst that made their old music so good. What was lacking in their latest album was that.

Teen angst may be shallow, generic and too general for any depth. It can be effective though, especially with good hooks. “My Medication” has a manic energy in how the guitars roar and Shaddix sounds like he cares about this subject matter, like he is a drugged-up rockstar living a reckless life. The anthemic nature of the songs is secondary to their purpose. Even their ballads improved. “Periscope” lets the guitarists try something else for a change, a pseudo-underwater riff while Shaddix along with Grey keep the vocals low. It’s a song you’d expect from Deftones if they tried to go Pop. If this sounds like ripping off, it might – but Papa Roach throw themselves with full conviction that people in YouTube got worried over that track.

The highlight of the album is easily its oddest track – “Sunrise Trailer Park”. In a way it’s a spiritual successor to “Gravity”, only it pushes so far into Hip-Hop that it has no business being on Rock radio. True, it’s not as harrowing emotionally was it wanted to me. Lyrical imagination was never one of their strong points and the subject matter of losing a friend from drunk driving – and being guilty – has no depth here. Still, the band is sincere enough, letting the emotions rise out without forcing them. It might be obvious, but it’s never overt and there is something quite haunting and damaged in the line “I’m still haunted by the best years of my life”. At the end of the songs these lines just float with the beat. Such decisions can only come from a focused band who knows what their songs is about.

What I wanted from Papa Roach was focused songwriting and capturing the old energy of frustration rock. In some cases – like in the title-track or “Help” this is what I get and it’s enough. The addition of rapping, exploring new sounds and territories, having “Sunrise Trailer Park” suddenly hints that maybe this band has something in them more than just venting tools. Maybe that’s what happens when you grow up. You may not have emotional depth, but you realize you’re free to try whatever you can. Hopefully this is a rebirth and maybe they’ll become genre-benders like Linkin Park.

3.5 crooked teeth out of 5

New Found Glory – Makes Me Sick

newfoundglory_makesmesick
New Found Glory exists currently for about 20 years. I know people who are younger than this band. This is so bizarre. Recently I sat with a friend and we reflected (or lamented, or celebrated) the fact we’re getting older. What makes this all the more bizarre is that New Found Glory works in the genre of youth. Even if you weren’t a teenager in the days of Punk Pop – I was, but was more of a Nu Metal kid – this still sounds like music for teenagers to get loud to. It was catchy, it was loud, it was angry and victorious at the same. For the 30-year-old man, a song like “My Friends Over You” means nothing. For a 16-year-old kid trying to convince himself that he’s not attached to a girl, this song means everything.

In a way, this album is an acknowledgement that these dudes are getting older. Whatever their previous albums sound like, “Party on Apocalypse” is the sound of an out-of-touch adult who remembers being young, yet realizes his youth has been replaced. In style it’s what you expect from a grown-up Punk-Pop band. The riffs are moved to mid-tempo and they discovered you can dance to something other than pounding drums, so you get a slightly funk rhythm. Musically it updates the genre for parties, and many bands went this way. Eventually we find our friends and want to chill with them.

The lyrics are different. Many heard about how the current generation is stupid. Just ask Socrates and how he hated writing. The lyrics are full of discorn, of venom towards the current generation. It doesn’t come from an adult perspective or reminisincing on better days. It’s just as suited for any 16-year-old today who’s confused about how to have fun.

The first verse immediately kicks off with how the ‘living for the weekend’ mentality is stupid. Coming from the band with that nasty tone, they sound like the ones who are actually having fun. All these people who pass out in parking lots and care so much about their image look ridiculous. The band doesn’t get angry over it, but confused and mocking. Later there’s even a slight at Social Justice. It’s the outsider perspective, how things look from the outside. All those people putting pictures on Facebook of them with beer bottles and all this identity politics thing, where people think their race or gender must be their whole meaning. Thankfully the chorus saves it from being just a song about being grumpy about waiting for all the trends to die. In the end it’s a party song about looking at the world from outside, thinkinkg it’s ridiculous and knowing you have more fun.

Two more other songs take this delusional approach – “Call Me Anti-Social” and “Your Jokes Aren’t Funny”. The latter is pretty obvious. Someone’s jokes lost their spark, like when you’re 22-years-old and memes about rape jokes just don’t do it for you and actually look offensive. “Call Me Anti-Social” continues from “Apocalypse” with being even more anti-social, but there’s something charming about it. Like the previous song it’s another response to a world where we’re surrounded by images of people being social (Which is not the same as actually being social). In this world, it’s far easier to feel isolated and alone. Unless you’re sticking your tongue out in Ibiza, you’re no fun. As an anthem of tiredness, it’s fantastic and exactly what I’d expect from a rock band who notices how different the rock landscape is now.

Everything else after that is just a retreat of Sticks & Stones. That’s okay, because New Found Glory have more charm than any band they influenced and overtake them. Anyone else would’ve ruined “Party On Apocalypse”, but it’s their everyman, ordinary people with loud guitars approach that makes it so charming. So when they talk about being used for sex (“The Cheapest Thrill”) or a weird unstoppable love (“Barbed Wire”) it’s cute.

It also lacks vigor. It lacks the authenticity of youth. I’m not saying they are pretending. I’m sure they really care about these songs and the only time a song is close to bad is because the melody is dull, like how uninspired “Blurred Vision” is with repeating a single phrase over and over. Yet what made their original material so powerful was how youthful it sounded, that it wasn’t a professional band knowing their genre but a bunch of dudes who had passion for romance and were really confused over being young. “Barbed Wire” is really cute and the lyrics are adorable, but I wonder what it would’ve been like if they played it 15 years ago. They do sound grown-up, which is excellent for some songs. When talking about broken hearts though, they’re just professionals going through the motions. It’s still good, but this isn’t the heart of Punk-Pop.

“Party On Apocalypse” is a fantastic and should be at the top of end-of-year lists talking about the best songs. It’s everything I want from New Found Glory now that they’re older. Someone should’ve expressed disillusionment and confusion over contemporary times and this nails it. Besides that, it’s just a rehash of old material without the same youthful energy. It’s fun, sure, but besides “Call Me Anti-Social” I can get everything here in better form in previous albums. Get these two tracks though.

I wish they would’ve used a better album title. What could be more generic?

2.5 apocalypses out of 5

(hed) pe – Blackout

Blackout_cover
I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5

Manic Street Preachers – Gold Against the Soul

GoldAgainsttheSoul1992_zps68db1fa0
Many find this to be the awkward one, the child that doesn’t belong anywhere. It’s slotted between two punk-spirited albums full of anger and vitriol, often eschewing melody for lyrics. The Manics sounded on their previous album like they’re more interested in starting fires than playing rock music. The Holy Bible was a philosophy professor going off-topic and refusing to let his students go. What does this collection of depressed soft rock has to do with anything?

Maybe these two albums were actually the abnormalities, not this. If you listen to them closely, you’ll find the same despair lurking there. Generation Terrorists wasn’t a victorious, rabble-rousing album but a car on fire just waiting to crash. What fueled its anger was despair, the thought that no matter how loud they’ll play nothing will change. That’s why it sounds so different compared to other political music. As for The Holy Bible, beneath the philosophy and big words it had “This is Yesterday”, “Die in the Summertime” and “4st 7lb”. The only reason the lattermost doesn’t fit here is because it’s not melodic enough.

This is the definitive Manic Street Preachers. It’s not their best album and it suffers from filler, but it’s one that captures their essence. If you have to distill the Manics, they’re a melodic rock band with as much brains as they got despair. ‘Despair’ is the key word here, because every song drips with it.

Just look at the song titles. It’s one of those albums that can convince you of having a concept – “Life Becoming a Landslide”, “From Despair to Where”, even a title like “Roses in the Hospital” hints more at despair than anything else. Even when they sing about something other than despair, it comes to that. “La Tristessa Durera” – a contender for their best song – is about a veteran who’s been abandoned by society, forced to live with his memories alone. I wasn’t in combat duty, but I did have a tough role in the military and that song is dead-on in expressing the alienation, the loneliness, how everyone treats your service like everyone goes through it. To me, this song is a godsend, showing us someone understands the loneliness of a discharged soldier.

The music is more softer, more melodic. Some expressed astonishment at this, but were the Manics ever brutal? Even The Holy Bible has its melodic, almost poppy moments. They just play at mid-tempo, which brings their melodic chops to the surface. If it was odd that their later records were so melodic, it’s only because we wanted to forget this record and believe in the Manics as explosive rock-n-rollers.

They never were that. Gold Against the Soul is the only logical continuation of their debut. All its fury and politics and anger and telling to people to fuck off were a last attempt at recovering from despair. Here, they wake up, quite indifferently, to a reality they knew they couldn’t change. How else to react to a rebellion you knew was lost in the first place?

The album’s power comes not just from despair, but a unique hopelessness. There was never a good time according to this music. Everything was always bad, but they just happen to sing about it now. “Life Becoming a Landslide”, in one sentence, points to a past that’s the same as the present. A lot of depressive music wax sentimental about a fall from grace. The fall is a common element in our thinking in dark times. Nostalgia is a place to run to, knowing that if things used to be good then maybe they have a chance of improving. The darkest albums have these, since they describe some kind of deterioration. There’s none of that here, just a monotony of despair.

The mood and sound are strong, but the songs alone don’t reach these heights. The album especially falters after “Roses in the Hospital”, and the final tracks are bursts of noise that only help to keep the overall mood, but not add to it too much. It’s also reliant on its sound more than anything. It sounds great when played from beginning to end, but if you find yourself choosing an individual song the choices narrow. “Sleepflower” is fantastic as an opener only.

When it’s good, it’s brilliant. “La Tristessa Durera” is a masterpiece. “Roses in the Hospital” is the second highlight, a funky Alternative Dance number that turns its despair into a protest. It’s the one song that captures some of the debut’s anger with the cry of “We don’t want your fucking love”, but only to fall back to despair. Other songs need the album’s mood to stick, but they’re good enough – “Life Becoming a Landslide” is strangely pretty, “From Despair to Where” is okay with brilliant lyrics and “Drug Drug Druggy” captures some Hard Rock intensity.

It’s also the album where the Manics begun their career as some of Rock’s best lyricist. The poetic titles are enough, but there are countless quotables here – “My idea of love comes from/A childhood glimpse of pornography”, “I am just a fashion accessory”, “I feel like I’m missing pieces of sleep”. If you need words to give your thesis or your book a title, there’s plenty here.

So it’s not their best album, but it is their best album, but if I have to direct a beginner I’ll direct them to this. They have more explosive albums, angrier albums, smarter albums and catchier albums. No album captured their essence like this, a poetry full of despair and intelligence that happens to go along with Pop hooks and guitar noise. Start your exploration here.

What the hell does the album title mean, by the way?

4 roses in 5 hospitals

(hed) pe – Broke

hed-pe-broke-800px
There isn’t much left to do, or anywhere to go after (hed) pe’s self-titled debut. It was an explosion of Nu Metal – mixing angst and partying, Hip-Hop and sludge, melody, rapping and screaming without a care. They didn’t enjoy the success of their peers for a good reason. The album went in all direction and drowned in its own idea. It had no hit, no immediate hook. Only those who are used to such genre-jumping could’ve gotten into it.

One thing it did lack was hooks. They were catchy, but the songs didn’t revolve around them. That’s one direction the band takes in Broke. Another is fill a hole in the genre. Nu Metal is silly and exists for partying. Metalcore couldn’t replace the genre because it was too serious. Yet, no band exploited the genre’s potential as great party music. You occasionally got a “Got the Life”, but not many realized how fun all this jumping around from genre to genre can be.

Broke‘s main selling point is in its demeanor. It’s roaring guitar music about drinking, fucking and not giving a fuck. If it sounds ‘more mainstream’ than their debut, that’s because the concept needs hooks and catchiness. A progressive song like “Darky” is a lot of fun, but not something you’d play in a party. It’s too atmospheric and complex.

The band hasn’t lost any of their focus. Their executions are simpler, not reaching as wide but they don’t need to. The first five songs are all brilliant. “Waiting to Die” has growling and rapping at the same time, macho and self-pitying lyrics at the same. It’s literally the Nu Metal genre condensed into one song. “Feel Good” has the pseudo-socially conscious lyrics. “Bartender” has Boom Bap, a ridiculously catchy and feel-good chorus and an aggressive part. It was the band’s biggest hit, but it should’ve been bigger. With the Boom Bap beat and the joyous melody, it should’ve been a hit among those who liked Limp Bizkit but found the rest too grim. As for “Crazy Legs”, it’s one of the cockiest and obnoxious rock songs you’ll ever hear. It’s brillaint. When Jahred repeats over and over “You wanna slow me down?” the band sounds unstoppable, as if the later part of their career wasn’t going to happen.

The production is cleaner this time around, which helps showcase how versatile Jahred’s voice is. Critics occasionally paid attention to Nu Metal, so how hasn’t he gained acclaim as the genre’s best voice? Occasional misogyny aside (Which doesn’t rear its head here too much), he out-Patton Mike Patton here. More than any band, he mixes all vocal styles in the same song – “I Got You” features both singing, screaming and rapping. In rare instances, he does them all in the same time like in the aforementioned “Waiting to Die”.

There are two other candidates for Nu Metal’s biggest albums – the band’s own self-titled and Lostprophets’ debut. Since the former is too complex for outsiders and the latter was created by a notorious sex criminal, Broke may be the genre’s defining moment. There’s a little bit of anger, a little bit of gloom and a lot of venting frustrations with bullshit macho lyrics and genre-hopping. In general, it has everything you should want from a soundtrack to rock parties and frustration.

3.5 bartenders out of 5

AWOLNATION – Megalithic Symphony

megalith
What’s originality, anyway?

Artists make breakthroughs all the time. People mix genres for the first time, all the time. It’s not so much that we invent stuff, but we discover it. Ideas are bones buried in the ground and we’re all digging. Every idea will be discovered someday. The original artist is the one that collects a few bones and constructs something unique to them. Their construction is something no one will ever be able to replicate.

It bogs down to ‘personality’ and that’s something an artist cannot copy. You can copy techniques or sounds, but you can’t copy the demeanor, the attitude in the singer or their overall approach. People who criticized Manson for ripping off Ministry missed their radically different approaches. The reason Mechanical Animals renders Ziggy Stardust irrelevant is because the latter is, at the end, mostly a melodic rock album. Its approach was easily replicated.

I doubt anyone will be able to replicate Awolnation’s approach. Some bands come close. Twenty One Pilots specifically sound like a more personal and sincere version of this. A lot of modern Pop bands now don’t see the lines between genres, but none blur them so explicitly and effortlessly like Awolnation.

A lot of genre-bending artists make a conscious effort to be weird. They’ll produce huge albums with long titles. Sometimes they’ll even inform you of the genre they’re imitating and will send the most obvious cues. That approach is far from bad, since their mere excitement of what you can do with music is engrossing. Bruno doesn’t sound like he’s experimental on purpose. It comes naturally to him.

You can hear traces of many genres in this music. Any attempt to put it in a single genre is misleading. Although the vocals are rough like a Hard Rock record, the backdrop is mostly electronic. It’s not all pleasant synths there, too. There is plenty of static, Industrial noise.

The center of attention is never the experimentation. By the time “Wake Up” arrives and Bruno starts rapping, he already experimented with screaming, aggressive singing and soulful singing. It’s hard to notice it, though. He’s so focused on the songwriting.

While the effortlessness is impressive, it also sounds like Bruno is holding himself back. If he’s capable of putting “Burn It Down”, “Sail” and “Kill Your Heroes” in the same album, what is he capable when he has ambitions? Only “Guilty Filthy Soul” is annoying with the pausing in the hooks, but until then the hooks are killer. “Sail” doesn’t dominate the album like it should. It’s the weirdest experiment, but the aggressive “Burn It Down” and the Pop masterpiece “Kill Your Heroes” rival it for attention.

The closing track is the heart of the album, and should’ve been one of the most talked about tracks of 2011. It’s a ten-minute Dance song with ten different hooks and a Rap verse. It’s a behemoth that’s hard to dislike unless you consider noise a necessary element in music. Music nerds will fall for its experimental nature, but anyone else has great hooks and a bassline to groove to.

It’s a clear attempt to make something important and attention-grabbing, but the rest of the album is casual. The approaches are both similar and different. It’s as if the whole album is a collection of B-Side for “Knights of Shame”. Until halfway through it, Bruno doesn’t even sound capable of such a song. He’s a great Pop songwriter but he’s too scared to go full-on weird.

The last track may be confusing, but it’s the perfect closer. Megalithic Symphony is a genreless, ear-friendly album. Bruno should be capable of bigger things. A person who can mix genres without even trying deserves to drop a classic. Still, it’s hard for me to imagine people finding this completely worthless.

4 knights of shame out of 5

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

tooweird
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