There have been few releases that I've anticipated as much as this. At one time, it seemed like it would never come. But 3 years, two less band members,and a full scrapped album later, I hold in my (figurative) hands Vices and Virtues, the latest release by Panic(!) At The Disco.
To say their sophomore effort was a departure from their former sound would be an understatement. Their debut album, 2005's A Fever You Cant Sweat Out, was a smash hit for the band, propelling them into the national spotlight on the strength of the unnecessarily verbosely titled singles "Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off" and "I Write Sins Not Tragedies". Fever, with it's insanely clever hooks and sharp-tongued lyrics, and heavy yet vaudevillian instrumentation, was a refreshing change to a bland pop punk landscape.
Their polarizing 2008 follow up Pretty. Odd. traded the distorted guitars and cabaret atmosphere for a trippy Beatles knock off vibe that they manage to pull of in one album better than Liam and Noel Gallagher managed to do their entire careers. Sometime after the second release, Founding member and primary lyricist Ryan Ross left the band, along with bassist Jon Walker, in order to further pursue the retro sound they had developed. Everyone wondered if Brendon and Spencer would come through on their own. What would they sound like? Would it be Fever 2.0? The answer came in the form of Vices and Virtues, released this month.
The record begins with the first single "The Ballad of Mona Lisa", probably the most Fever-esque track on the record. Strong track.
Kill Tonight starts with an almost 80's dubstep beat, with Urie's vocals inexplicably filtered through what sounds like a megaphone. But the track really takes off at the insanely catchy and simple chorus of "lets kill tonight/kill tonight/show them all you're not the ordinary type". one of my favorite tracks on the record.
Hurricane's stabbing guitars and soaring chorus are reminiscent of Infinity On High-era Fall Out boy. a guaranteed singalong track.
Memories is another standout to me. Its delayed guitars and driving drum beat give off an almost U2-like vibe, building to a massive sounding chorus. One of the stronger and unique tracks on the record.
Trade Mistakes utilizes the most unique instrumentation on the record (I'm pretty sure I hear an xylophone on the verse). As usual, Brendon continues to deliver massive chorus's. this track is no different.
Ready to Go (Get Me Out of My Mind) is the last track written for the record, and also one of the more radio friendly tracks on the album. It blends 80's sounding synth with a modern Panic vibe. If this is what Panic's musical future holds, then the future is bright indeed.
Always is the most Pretty. Odd. reminiscent track on the record. The finger picked acoustic ballad is one of the stronger lyrical tracks on the record.
The Calendar is the closest thing this record has to a filler track, and that being said, it's still a great song, if not a little cookie-cutter for them.
Sarah Smiles originated as an acoustic song Brendon wrote to impress his girlfriend, and turned into a wall-of-sound rock song. Containing the heaviest guitars on the record, its sure to be an excellent live track.
Nearly Witches closes the record in a very big way. Originating out of their scrapped demos for the previous album, this track represents everything Panic! at the disco stands for musically and lyrically. Maybe the strongest track they've ever written.
For their fans, 3 years felt like an eternity. But I think most fans will agree that Vices and Virtues was well worth the wait.
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