But now I can’t help imagining that Hayley presented them with a demo of “Ain’t It Fun” and they got the f uck out of there as fast as they could. Maybe it really was because they thought the band was headed in a direction that didn’t glorify Jesus or whatever. Yeah, maybe they left because Hayley was getting all the media attention. Really though, this album seems especially poor because it makes the departed Farro brothers seem justified in their pissy leaving.
Want to hear them try their hand at mixing punky buzz-saw guitar verses with an "epic" stadium rock chorus? Lead single “Now” is here for you, in which Hayley Williams gives the first of several poor singing performances on the record the verses are toneless and she tries to cram too many words into them without really saying anything.
Sort of a lyrical mash-up of Tracy Chapman’s “Fast Car” and Cyndi Lauper’s “Girls Just Want To Have Fun” in that it removes the desperation from the former and adds the vapid bullsh it of the latter, it stands out because it features one of the most annoying pre-choruses ever and one of the worst bridges I’ve ever heard. Want to hear them sound how Taylor Swift does when she tries to write a rock song? Listen to “Fast In My Car” which is seriously just awful. Still, if you didn’t like Paramore before, then maybe there’s something here for you. But listening to their self-titled album has lent that difficulty some credibility after the fact, because this sh it is all over the place.
Things like that used to bother me because I thought Paramore was a good band and it seemed stupid that people found it hard to pinpoint what they were. A few years ago, the Los Angeles Times described Riot! single “That’s What You Get” as having some “screwy off-time math-core” in it.Īnyway, it doesn’t matter. One could – and maybe should – argue that nobody at Rolling Stone knows how to write about music anymore, but even they are rarely that far off-base. What is it about Paramore that makes music critics forget how to write? In the Rolling Stone review for this album, the terms “emo-metal,” “post-emo,” and “pop-metal” are all used, and the entire review is only three sentences long. Review Summary: This is some fucking foolishness right here.
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