With over ten years and a hiatus under their belt, Fall Out Boy have been known to grow and change with each release. 2013's Save Rock and Roll ushered in a new era for Fall Out Boy; the pop punk that the band became known for transformed into pure radio-ready pop. The group's latest release, American Beauty / American Psycho, has expanded on the band's new sound, proving that Fall Out Boy haven't settled yet.
They lay the theatrics on thick on American Beauty / American Psycho. From the horn section on "Irresistible" to the haunting choral cadence at the end of "Twin Skeleton's (Hotel in NYC)" to Patrick Stump's vocal acrobatics throughout each track, the album is clearly meant to grab the attention of a sold-out mega-venue. "The Kids Aren't Alright" is a nod to every underdog who holds this band close; it's a Folie A Deux-esque track that builds at the chorus, evoking the desire to sing along.
The album's nadir is the title track, which is so busy and disorienting it feels like an audio assault. It's an unfortunate electronic train wreck reminiscent of lyricist Pete Wentz's flopped hiatus project, Black Cards, proof that not all experiments translate into success.
American Beauty / American Psycho might be challenging for Fall Out Boy listeners who yearn for the snark-soaked emo of Take This To Your Grave or From Under the Cork Tree, but listeners who can handle a few catchy, dance-worthy tracks will appreciate their latest creation. Fall Out Boy have honed in on an arena-rattling brand of pop that is different for sure, but likeable nonetheless.
(Island)They lay the theatrics on thick on American Beauty / American Psycho. From the horn section on "Irresistible" to the haunting choral cadence at the end of "Twin Skeleton's (Hotel in NYC)" to Patrick Stump's vocal acrobatics throughout each track, the album is clearly meant to grab the attention of a sold-out mega-venue. "The Kids Aren't Alright" is a nod to every underdog who holds this band close; it's a Folie A Deux-esque track that builds at the chorus, evoking the desire to sing along.
The album's nadir is the title track, which is so busy and disorienting it feels like an audio assault. It's an unfortunate electronic train wreck reminiscent of lyricist Pete Wentz's flopped hiatus project, Black Cards, proof that not all experiments translate into success.
American Beauty / American Psycho might be challenging for Fall Out Boy listeners who yearn for the snark-soaked emo of Take This To Your Grave or From Under the Cork Tree, but listeners who can handle a few catchy, dance-worthy tracks will appreciate their latest creation. Fall Out Boy have honed in on an arena-rattling brand of pop that is different for sure, but likeable nonetheless.
