(Photo courtesy of Paramore.net)Pitchforks: 2.5/5
Released: April 9, 2013
The most impressive parts of Paramore’s early albums were those that were completely, resolutely unique. Lead singer Hayley Williams crowed her way through body-thrashing anthems like “Misery Business” and “Crushcrushcrush” without breaking a sweat.
The problem with Paramore’s fourth studio album, a self-titled record featuring a tweaked line-up, begins with lead track “Fast in my Car,” which is a little more “Girlfriend”-era Avril Lavigne than suits the band. The album takes another sharp turn with its second song — the lead single off the album — “Now.”
It's disconcerting to jump from the first song into this hyperactive, over-produced mess. Underneath the odd spoken riffs and repetitive lyrics lies promise. The original music and Williams’s sharp vocal ability are strong, but it seems that somewhere between the songwriting and the song’s release was a disappointing distortion of the music.
In a pleasing twist, the following track, “Grow Up,” is strong. Unlike with “Now,” “Grow Up” doesn’t aim to cram five different styles of music onto one track. The song is a catchy anthem with a powerful message (“Some of us have to grow up sometimes / and so / if I have to / I’m gonna leave you behind”). It’s the unforgiving Paramore that listeners are used to from past albums, and it begs to be put on repeat. Williams shines, thanks to well-executed lyrics: “So don’t feel sad for me / I’ve got a love I would die for and a song to sing / And we’re both just living out our dream.”
The band throws something new at listeners with “Moving On,” which is an a cappella track that is stripped down to a quirky, ukelele riff and vocals. It’s such a departure from earlier songs on the album and is distracting. Simply, “Moving On,” is a good song that’s completely out of place.
Then, there are gospel singers on the pop-driven “Ain’t It Fun” and solemn harpsichord trills on the otherwise lackluster “Last Hope,” which feel like experimental additions on tracks that would seem much more at-home on a different record.
The rare strains of Paramore’s signature sound can be found on the eerie “Part II,” which builds well into a full-on rock anthem.
After a full listen-through, Paramore’s new release is just a disjointed compilation of 17 more-or-less decent songs. Its lack of cohesion is its greatest weakness, because so much of the band’s shocking re-direction is lost in a mash of rock, pop, alternative, folk and progressive influences that are difficult to stomach in quick succession.
With Paramore’s latest album, there’s potential that makes itself known on a few of the tracks. The core musicianship and vision is there, but the album is messy and, at times, overdone. It just tried a bit too hard on this one.
Reach the reporter at svhabib@asu.edu
