Album- Paramore
Artist- Paramore
With a self-titled album, you would normally believe that a
record such as this is a debut album. Yet this is actually Paramore’s fourth
studio album, being one of the reigning pop punk groups of the 21st
century. However after the departure of the Farro brothers, many people were
unsure of the bands future, and so in a sense this is a debut for the group not
only as just a three piece band but as people who, as individuals and as a
collective, have at to rediscover themselves, and in the process have gathered
a new sense of freedom. The question is, is this rediscovery a good thing or a
bad thing?
Track 1- Fast in My
Car
From the moment I heard this song I felt that what the group
had been saying about the evolution of them as a band did indeed ring true. But
what is delicious about it is that it is not an in your face change but is just
a simple sense of being bolder whilst still retaining what Paramore once was.
As an opening track this is a cool number that is powerfully rock driven, with
aggressive electric guitar riffs and an incessant drum beat that makes for a
fun and frivolous kind of a song. The middle section guitar solo is a
particularly prominent section that emphasises the way that the song builds and
by the end you should really just be having fun. Vocally lead singing Hayley
Williams is on fine form, having both a smooth and gritty style that a wide
range of listeners will find appealing, and the ad libs in the middle section
are a great example of the band just enjoying making music. The tracks lyrics
are simple and hook driven, with a catchy quality, but they are definitely the
weakest component, not in the sense that they are bad but in the sense that the
production and vocals are just that good.
3.5/5
Track 2- Now
The records lead single is an aggressive pop rock number
that is centred around a very catchy hook and has an emotional resonance in
terms of this hook. Lyrically the track has that dystopian future kind of a
feel to it in which the tracks centre is a powerful statement that emphasises
the bands holding out for hope, and is giving gravitas in that you can’t help
but think that the future that Williams is singing about wanting is that future
for her group. The production is a clattering drum and catchy, forceful guitar
riff driven sound that makes for a very up tempo, lose yourself and go crazy
sound that is extremely enjoyable. The sound is also that little bit more edgy,
which is a welcome change of pace. However the best thing about this song is
Williams’s vocals, with her vocals in the chorus being a particularly prominent
slice of pop rock deliciousness as she gives what she is singing a tangible
sense of truth. The bridge is also great in terms of giving us a sense of the
power that lies within her voice, and how she is just an amazing vocalist.
4/5
Track 3- Grow Up
With the first listen of this track I felt that it was a
great number in that it has a pure sensibility to it that nicely taps into the
human condition, and is a great track for their youthful fans as it has not
only that sense of an end of a relationship because of childish behaviour, but
also has that essence of people in general just have to recognise that life at
some point changes and who you were changes. The songs strength lies in the
simple lyrical quality that unfolds as a nice kind of conversation between
Paramore and the listener in my opinion, and which is centred around another
catchy hook, although the hook this time is perhaps a little repetitive. Vocally
there is a nice softness to Williams performance, with harmonisation of the
bridge being a nice delicate moment, and as a whole she vocally doesn’t over
perform but emphasises that what she is singing is the simple truth. Production
wise it is another simple pop rock number that makes for a catchy sound,
although the electronic based outro is a cool moment that leaves the song
having a lasting impression and gives that chilled moment of reflection.
3.5/5
Track 4- Daydreaming
The title of the track definitely encompasses the essence of
the song in terms of all the components that make it. The vocal performance of
Williams has a cool chilled and subdued kind of a lilt in the verses that is
backed by the more powerfully driven chorus that emphasises the fun of such a
simple thing as daydreaming. Lyrically the track is another hook driven affair
that finds Williams singing about escaping reality, and has a nice sense of
believability in that we all can relate to that idea of daydreaming and wanting
to escape. In terms of production the uplifting flavouring of the lyrics is
matched by the light pop rock production that is based in steady but strong
drum beats and simple electric guitar, with the sound being a little bit more
old school Paramore a little bit. If you aren’t kind of daydreaming by the
final dramatic section then it is a shame.
3/5
Track 5- Interlude:
Moving On
The first interlude is a cool slice of alternative, chilled
music in which we find Williams delicately singing along in a preppy kind of
way to the simple sound of ukulele instrumentation. The lightness of the track
is a nice contrast in terms of the rock drive of the previous numbers, and in
terms of the lyrics it’s a very straightforward affair that fits nicely as an
interlude, because I think as a full track this might have felt a little bland.
As Williams simply sings about moving on from a relationship she has boldness
in her vocal tone, and the message is a strong one that many will identify
with. A cool mix of sweetness and bitterness that leaves you excited for more.
3.5/5
Track 6- Ain’t It Fun
The fun and musically diverse energy of the group comes out
powerfully in the sound of this record. The songs tone sounds quite fun and
fancy free, but the lyrics of the song actually contain a sense of bitterness
to them, as Williams boldly sings to an ex of how it must be fun to live in
reality and be on your own. The chorus is really catchy, as is the bridge, and
the powerful vocal tone of Williams shines through again as she just gives a
smooth and light energy to the track. However the production is the real star
of this number. The pop rock sensibilities are there with the cool electric
guitar riffs and forceful drum beats. But the intermingling of cool xylophone
like percussion gives a further light undertone to the track. And the song
really becomes powerful when the bridge kicks in, as it transforms into this
gospel extravaganza, with Williams being joined by a choir. It’s just a
powerful slice of wow did that just turn into that music that has a great, bold
energy.
4.5/5
Track 7- Part II
Let the Flames Begin, a track from their 2007 album Riot,
was a band and fan favourite, particularly in terms of performance. This song
is meant to be a sequel to that number, and in many ways it is, although it is
also a little bit darker in tone but still uplifting, and is that little bit
superior. The track features the same kind of sound that long term Paramore
fans will be familiar with, and the build of the verses into the powerful crowd
pleasing chorus that existed with Let the Flames Begin comes back here again in
full force. The lyrics also still contain that searching for meaning sentiment,
whilst vocally Williams is on point. However, this track is more of a tour de
force in terms of the instrumental section that comes 3 minutes into the track,
being an aggressive slice of dark pop rock deliciousness that makes the
statement of the song bigger and also allowing you as a listener to have a kind
of moment of reflection. It’s definitely a song that will sound awesome live.
3.5/5
Track 8- Last Hope
At five minutes in length, this is another bold offering
from the band that is intriguing in sound and energy. The track features a
little bit more of a stripped back sound before transforming into this strong
pop rock gather your friends and sing along kind of a number, with Williams
leading the way with her strong vocal performance that is harmonized nicely in
this track. The lyrics of the song are both sad and happy, with Williams
singing of being uncertain in this relationship but also trusting and holding
onto that last sense of hope. Even though the song is quite long, it never
feels as long as it actually is, and the lyrical repetition of the track,
normally a weakness, is a really strong point of the track that brings a nice
collective quality to the track and is very sing along and so sounds great. The
production is quite simple but good, with the first minute being very laid back
before transforming into this forceful drum beat number that really builds and
sounds impressive, and then being more stripped back, then even more forceful
and impressive with crowd like harmonies, and then finally ending on simple
guitar instrumentation with Williams singing “mmm” in her soft vocal tone and
allowing the song to leave a lasting impression.
4/5
Track 9- Still Into
You
Chosen as the records second single, the ninth track is a
delicious slice of happy pop rock music that is really sugary sweet and
infectious. The songs lyrical message is really simple, relying on a cute kind
of story telling energy in the verses before being driven by the strong chorus
which is extremely catchy and is powerfully hook driven, as Williams sings of
being so in love with her man even after all this time, and how she doesn’t
need to question the relationship. The track is definitely a prominent example
of the new Paramore, as the track lacks a heavy guitar riff and is instead
driven by light synth tones with a great drum back beat. The bridge also
features a really funky and catchy, dance around and be foolish sound with the
use of indie dance glockenspiel and synths, and as a whole the sound just
builds and gets more infectious. And although she is always vocally strong,
Williams particularly shines here, perhaps because she herself is encapsulated
by the songs happy energy and so vocally really brings this out and
incorporates us into it. A pure and amazing pop rock song that deserves great
commercial success.
5/5
Track 10- Anklebiters
Because of the title of this track I really expected this to
be a full on rock, heavy in your face kind of a number. However whilst it
definitely is heavily rock driven and harks back to past Paramore in terms of
the heavy drum beats and heavy guitar riff, there is also a strong pop
lightness in terms of the production, particularly with the light percussion that
is enveloped in the track and the way the key changes between the verses and
chorus, and to me this track wouldn’t sound out of place in a teen flick. The
shortness of the track is misleading as this is a full thought out track that
lyrically questions the idea of conformity and expresses the statement that you
should just please yourself, expressing this statement in a powerful way in
terms of the crowd shouting of the songs title. The fast paced energy of the
track makes for another infectious number, and vocally the smoothness of Williams’s
voice brings the message home and is complimented by the crowd shouting, with
the studio happy all together end showing how much fun the track probably was
to record.
3.5/5
Track 11- Interlude:
Holiday
The second of the interludes on the record doesn’t feature a
radio like vocal but brings back the preppy ukulele instrumentation and is
another nice transition that is a little heavier in sound but still retains a
lightness as Williams sings of getting a holiday from the drudgery of life and
how she would stay in this holiday state if she could. It is another good
interlude, although the previous one was slightly better, as this one feels
just that bit too short even if it is an interlude.
3/5
Track 12- Proof
The love driven side of the band is brought out again in
this number in which Williams sings of how all she needs is him because he
incorporates all that she loves about him and the relationship in his very
being. It’s a little cliché driven lyrically but the track is still driven by a
powerful hook and shows how they are the reigning kings of creating catchy pop
rock tunes. Williams is vocally strong as usual and the pop rock energy of the
production is strong, with an aggressive and stomping bass set against a cool
electric guitar riff and just sounding heavy and nice and light at the same
time, with the chorus being more upbeat and being complimented nicely by the
verses, even though the sound is a little familiar.
Track 13- Hate to See
Your Heart Break
Another long musical affair, the thirteenth track is a
strong slice of mid tempo pop that is led by simple production and sounds very
sincere and sweet, with an extremely chilled energy. The tracks production in
terms of the steady drum beat and the twinkling percussion and light guitar
instrumentation just makes a nice and sweet groove to the track, with the use
of violins which become more dominate as the track continues really allowing
the song to build and for the lyrical message to seem truly sincere. In terms
of the lyrics the track is succinctly emphasised in the title, with Williams
delicately singing of the virtues an beauty of her man and the power of love,
whist also telling him that she hates to see him like this but it is the way
that it has too bee, as she has been in the same situation. The more slowed
down vibe allows the delicacy of Williams’s vocal tone to come through, with
the layering of her vocals giving a great sweetness to the number, and being
nicely accompanied by the final minute of simple guitar and violin
instrumentation that is a little bit long but retains that sweet energy of the
song and emphasises sadness but beauty of the message.
4/5
Track 14- (One of
Those) Crazy Girls
You really should never judge a song by it’s title, as yet
again I kind of thought that this would be a full on pop rock number that
throughout you can just go crazy too. However it is actually a cool kind of two
fold track in which Williams sings of how she can’t believe that she is being
classed as one of these crazy girls, but then comfortably fitting into this
persona. The song’s lyrics are cool in that they really tap into the crazy
psyche that some girls in relationships can have and in the process make it fun
and also poke a little fun at it. Williams gets stronger vocally as the track
plays out, with final minute being a powerful section that makes for a cool
finish. And although the sound is familiar the band step it up by contrasting
the delicate opening, which has an almost 60’s kind of girl band groove and
feels very old school, with a powerful pop rock vibe that is light but strong
and feels new and signature Paramore at the same time, before ending on a very
simple laid back note.
4/5
Track 15- Interlude:
I’m Not Angry Anymore
The third and final interlude brings back the old radio
affected kind of vocal performance, whilst the ukulele instrumentation comes
back and sounds really cool when set against this kind of vocal. The title of
the interlude really speaks for the lyrics, and it’s a succinct statement that
is enveloped in a light sound that is nice and sort of fun and is a great final
interlude.
3.5/5
Track 16- Be Alone
From the moment this track begins with its cool kind of
warped and distorted guitar riff you can tell this is going to be a full throw
your head around rock number that is really up tempo and fun. In terms of the
message of the track Williams sings of how this person should be just with her
and shut off from the world, as they can be great just the two of them and no
one else. It’s a preppy and fun statement that is also a little psycho and
which is powerfully carried off in the lyrical stresses of each line of the
chorus and the overall vocal performance, as Williams just has a really great
and smooth tone. The stomping production with the heavy guitar and drum sound
is awesome and just fun, and the talking section, although small, is a nice
touch that emphasises that this is a group who think about the details.
3.5/5
Track 17- Future
If you’re going to end an album you have to end it on a high
note, and Paramore really do this with this quite organic sounding affair that
is another bold sounding affair. Beginning with the guys as if they are in the
studio, the track begins with a simple guitar instrumentation as Williams sings
beautifully about how they are writing the future and not looking to the past,
a statement that you can’t help but think refers to the change of the band as
they go from a five to three piece. The lyrics are simple and succinct and are
sung on a low but light and delicate level that is really cool. But the best
thing about this track is the building sound as the electronic underbelly comes
into play and then makes way for a monster rock guitar solo that is so epic in
tone and which sneakily softens as if the song ends before building back for
one last round. Some people might find it stupid, but really it just a slice of
crazy pop rock that shows that the sky is the limit for this group.
4/5
Final Review
Paramore have always been one of those bands that many
people have thought were awesome, and who have amassed an ever growing fan
base. And although the Farro brothers departure potentially signalled the end
of the group, the new three piece can definitely state that with this fourth album
and kind of a rebirth they are definitely still an amazing band, perhaps even
greater, and they will be here to stay for a long time. The album is an epic
slice of pop rock that features a great melding of genres and new ideas for the
band, still sounding distinctly Paramore but also something really inventive
new and exciting. People need to bow down to what I’m going to call the kings
of pop rock.
10/10
Best Track- Still
Into You
Worst Track-
Daydreaming
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