Review Summary: "It's time to move forward. I feel no sympathy."
The line you read in the summary is taken from the song "Feeling Sorry", which appears on Paramore's third studio album,
Brand New Eyes. One of the best songs off of the group's crown jewel effort, "Feeling Sorry" is a precursor to the sensibility that enriches several of the tracks off of their latest outing,
After Laughter. The group's sonic evolution is as dynamic as you can find in mainstream music.
Brand New Eyes signaled the height of their pop punk days, while their 2013 self titled effort marked a cautious veer into lighter power pop, a shift in paradigm fully realized with the release of
After Laughter.
Paramore ushered in the next era of their journey with lead off single "Hard Times", a track which is undoubtedly annoying upon first listen. The track manages to grow on you with Hayley Williams' soft vocals and a series of pulsating beats that pay tribute to 80s new wave. The track isn't perfect though. Williams harshly blurts out a small handful of lines throughout that ruin the pacing of the track and aren't easy on the ears. The track is overall decent enough, in part because it's still unmistakably Paramore in spite of the shift in sound.
"Rose-Colored Boy" follows an eerily similar concept. Poppy and spontaneous but saved with the right blend of infectious hooks and smooth basslines. Zac Farro is back on drums after a seven year absence and he makes his presence felt once again, especially on both this track and follow up single "Told You So." Taylor York provides some slick 80s like riffs, while Farro keeps the pace moving along nicely with simple yet solid drumming that isn't overtly abrasive like some of Williams' vocals on "Hard Times"
"Forgiveness" is a mid tempo track that sees Williams unafraid to sing to the strengths of the band's new format. While this is only the group's first true venture into this sonic territory, Williams adjusts accordingly on this track, while still maintaining the wailing pipes and grit that made the group's past discography such a treasure to listen to. "26" opens with some sulky acoustic guitar followed by some gracefully soft vocals from Williams. "Grudges" features some cool basslines, earwormy snyths and plenty of lead guitar from York. Williams' vocals are a bit overly layered but it suits the track's mid tempo pacing.
"Caught in the Middle" is another track that honors 80s new wave every chance it gets. Williams sings of wanting to stay young but not remembering where she's been. The themes of maturity and change not only suit the tone of the album, but also describe the tumultuous last several years of the band's career. The group underwent several line up changes en route to putting out these two most recent albums and at times, there was immense doubt this record would even exist. With that said, the thematic lyrical content touching base upon change and doubt is appropriately placed. Williams' corroborates this again on album closer "Tell Me How", a slower tempo ballad that speaks of letting go and moving forward.
Paramore's needed and inevitable reinvention of their sound is a hard pill to swallow at a glance for longtime fans. But only a few listens more will find you, the listener, fully immersed in the direction this group is headed in. Unafraid of jumping out of the plane with no parachute, Paramore has once again learned how to fly in the process.
After Laughter is an appropriate inroad to a bright future renewed for one of the best and most talented rock groups of modern times, who still know how to honor older generations and have fun in the process.
After Laughter can't be a strong return to form, because it's the introduction of a form the likes of which Paramore was always capable of achieving.
