Tracks
People who bought this release also bought
This is Panic! At The Disco's fifth album, though the 'band' is now a solo act. Only Brendon Urie remains as a full-fledged member of the band; bassist Dallon Weekes is a touring-only member, but this album saw the departure of drummer Spencer Smith, leaving Urie as the sole writer and official performer for the act. Since the band split from it's original lineup prior to their third album, "Vices & Virtues", Urie has basically been in complete control of the band's direction anyway; this simply assured that he would now be in complete control. The difference, on casual observance, is relatively minor from the band that original split.
Panic has been getting decidedly more club-friendly with their sound with each passing album, and this is no exception. However, with this step forward is an intriguing step back...to the days of Frank Sinatra. The title track was something of a tribute to the Chairman of the Board, on his (posthumous) 100th birthday. Urie imagined it as a more jazzy, updated big band-type sound. The double meaning comes from Urie's impending marriage, paired with Sinatra's rep. The result is ok. It's nothing so unique or creative as to make a big mark, but it's a decent club song, with a good sound. That's pretty much an accurate description of most of the album.
The first single is actually the very catchy "Crazy=Genius", which has the most success in fusing a little jazz into the pop-club sound. The refrain, "you can set yourself on fire", despite the obvious connotation, has a definite jazzy tone, and is very dance-able. This is really the most unique song on the album, with a bouncy beat, this is the most memorable song, the one that sticks with the listener the most.
The rest continues the trend of the previous album; pop-friendly, with the band's recognizable sound, but nothing else really stands out. Despite taking control, Urie hasn't taken the sound anywhere new. Yes, there is the jazzy/Sinatra-esque undercurrent of several songs, but it is so subtle as to go unnoticed to most listeners. The tunes here could have come from Too Weird to Live, Too Rare to Die!; if you enjoyed that, you'll like this. Personally, I found that a step back from the excellent Vices & Virtues. This is about at the same level, save for the fun anthem "Victorious" and the aforementioned "Crazy=Genius".
Depending on your perspective, this album is either a continuation of the pop-club trend the band has been on, or an act of narcissism from Brendon Urie. Either way, here is what you will get: the sound of the previous album, with a little Big Band-era jazz sprinkled in. Sometimes an artist gets too taken with themselves to see what it's done to their creativity; here's hoping that Urie got this out of his system and takes in a bandmate or two to help reel him in for the next album. It was fine for an album, but there are not a lot of directions to proceed in from here. Not that there isn't anything to like here, it's just not any kind of progression. Take a listen to "Crazy=Genius", "Victorius" and the title track; if you're still interested, keep going. If not, go back to Vices & Virtues.
Panic has been getting decidedly more club-friendly with their sound with each passing album, and this is no exception. However, with this step forward is an intriguing step back...to the days of Frank Sinatra. The title track was something of a tribute to the Chairman of the Board, on his (posthumous) 100th birthday. Urie imagined it as a more jazzy, updated big band-type sound. The double meaning comes from Urie's impending marriage, paired with Sinatra's rep. The result is ok. It's nothing so unique or creative as to make a big mark, but it's a decent club song, with a good sound. That's pretty much an accurate description of most of the album.
The first single is actually the very catchy "Crazy=Genius", which has the most success in fusing a little jazz into the pop-club sound. The refrain, "you can set yourself on fire", despite the obvious connotation, has a definite jazzy tone, and is very dance-able. This is really the most unique song on the album, with a bouncy beat, this is the most memorable song, the one that sticks with the listener the most.
The rest continues the trend of the previous album; pop-friendly, with the band's recognizable sound, but nothing else really stands out. Despite taking control, Urie hasn't taken the sound anywhere new. Yes, there is the jazzy/Sinatra-esque undercurrent of several songs, but it is so subtle as to go unnoticed to most listeners. The tunes here could have come from Too Weird to Live, Too Rare to Die!; if you enjoyed that, you'll like this. Personally, I found that a step back from the excellent Vices & Virtues. This is about at the same level, save for the fun anthem "Victorious" and the aforementioned "Crazy=Genius".
Depending on your perspective, this album is either a continuation of the pop-club trend the band has been on, or an act of narcissism from Brendon Urie. Either way, here is what you will get: the sound of the previous album, with a little Big Band-era jazz sprinkled in. Sometimes an artist gets too taken with themselves to see what it's done to their creativity; here's hoping that Urie got this out of his system and takes in a bandmate or two to help reel him in for the next album. It was fine for an album, but there are not a lot of directions to proceed in from here. Not that there isn't anything to like here, it's just not any kind of progression. Take a listen to "Crazy=Genius", "Victorius" and the title track; if you're still interested, keep going. If not, go back to Vices & Virtues.