The weekend may be over, but there’s still a reason to smile; with Monday comes a fresh supply of new music (and a new blog from me). Among the more prominent releases this week are Stonesour’s ‘House of Gold And Bones pt. 2’, Device’s [The new band from Disturbed’s front man David Draiman] debut album and Fall Out Boy’s comeback record.
Who else am I forgetting? Oh yes, a brand-spanking-new album from Paramore.
In case you’ve been living under a rock, Paramore is the Hayley Williams fronted pop-punk/rock band who create songs so catchy, they’re infectious. After releasing ‘Brand New Eyes’ in 2009 to critical acclaim, they were firmly nestled amongst pop and rock fans favourite bands. In late 2010 Paramore were subject to a dramatic, and very public, turn of events, resulting in brothers Josh and Zac Farro (guitar and drums respectively) quitting the band. They claimed that Atlantic Records had their hands wrapped round Williams and that she treated the band like it was her own solo project.
Although Williams admitted that she was the only member signed to Atlantic records, the statement released on their website announced the brothers were simply not interested in the band any more and had been for some time. No matter whose opinion you believed, the fact remained that two of the founding members had left a giant hole in the bands dynamic and fans were worried about how the changes would unravel themselves across the new album.
Fortunately the new self-titled album has many golden moments, especially the epic lead single ‘Now’ and the three unique interludes, which consist of just Hayley and a ukulele. However the quality control department fell asleep during the final play, allowing four very generic, uninspired songs (namely ‘Be Alone’, ‘Future’, ‘Anklebiters’ and ‘Daydreaming’) onto the final product. Despite the sprinkling of filler, there are still quality songs hidden away such as ‘Ain’t It Fun’ and ‘Part II’ and I wish Paramore had chosen quality over quantity and decided to trim the fat. Sadly this is not the first time this mantra has gone unnoticed by Paramore. I would still highly recommend listening to it though because parts of it are pure genius, but treat it like tapas and not a 3 hour banquet, as you will be left feeling hungry afterwards.
I have noticed that many female-fronted bands seem to suffer from this ‘single-syndrome’ where half the album is brilliant, but the rest feels rushed and there only to make up the minutes. Halestorm’s debut album from last year was an exact template of this and could have learnt from the motto ‘no filler, only killer’, which Skindred’s ‘Shark Bites and Dog Fights’ is the perfect example of.