Photo by: adam riggall
Rumors about Panic at the Disco’s Vices and Virtues reverting back to the beloved A Fever You Can’t Sweat Out sound simply weren’t true. The rhythms of each song are too similar and the lyricism is too closely linked to be distinguished, creating a concept album that has more vice than virtue.
In “The Ballad of Mona Lisa,” the lead single for Vices and Virtues, promoted the band’s new album in the best light possible, showcasing the catchy chorus and antique-themed lyrics. Panic at the Disco incorporates their traditional xylophone notes at the beginning of the track while reminiscing older songs in their back catalogue, all the while narrating the mystery of Mona Lisa.
In a fairly successful manner, Panic questions and depicts the story of Mona Lisa, asking for her to “Say what you mean/Tell me I’m right/ And let the sun rain down on me/Give me a sign” from her porcelain gaze.
“Let’s Kill Tonight” brings an eerie rhythm and cliche clapping and stomping following “Stomp your feet and clap your hands.”
The track creates a semi-dance ballad for the listeners in any stereotypical group with simplistic lyricism including “Let’s kill tonight/Kill tonight/Show them all you’re not the ordinary type.”
“Hurricane” follows, sounding all too similar and hard to distinguish as an equally partial dance ballad.
“Memories,” on the other hand, illustrates a storyline of a couple going out into the world on their own and fleeing their families.
The pair hold onto their memories before losing track of the reason they left in the first place.
All in all, “Memories” is a love song turned into an ideal senior song, with its storylines that hopes to surpass “I Write Sins Not Tragedies” but ultimately fails.
Turning a new leaf, Panic at the Disco creates a delicate and comforting acoustic track, “Always,” that showcases Brendon Urie’s talent as a vocalist.
In harmony, Urie sings” “When the world gets too heavy/Put it on my back/I’ll be your levy/You are taking me apart/Like bad glue on a get well card.”
Despite having depressing lyrics, “Always” has a comforting uplift that incorporates gentle trumpets and other classical instruments while maintaining a mainstream sound and wispy acoustic track.
“The Calendar” is another track that incorporates the sometimes strange electronica sound of Panic, but it mixes nicely with catchy, rythmic lyrics and a leading drum beat.
Despite Panic at the Disco’s lineup change, Vices and Virtues reverts to the Pretty. Odd. sound more than that of the album that gained them mainstream success six years ago. And that’s, well, pretty odd.
