Panic's Newest Album Shows Maturity, Variety

CD Review

By: Erik Emanuelson

Posted: 4/3/08

Panic At The Disco has dropped the exclamation point in their name - does this mean they've grown up?

If growing up is defined as trading in your black hoodie and women's jeans for a 1968 wardrobe, listening to "Abbey Road" and growing some facial hair, then the answer is a resounding yes.

In what seems to be a growing trend among modern music, Panic has taken a step back in time to try to recreate the magic of classic albums from bands like The Beatles and Electric Light Orchestra. It goes without saying that in nearly all cases the original is always better - often profoundly better. However, it is equally true that some imitations trump others, and as long as you know what to expect, you can enjoy them. With this in mind, Panic at the Disco's "Pretty. Odd." does a "pretty" convincing job.

"Pretty. Odd." is a not-so-subtle homage to one of the greatest periods in Rock and Roll music. The band has made an attempt to recreate the total experience by opting to use live, full band recordings and real, in-studio instruments as opposed to synthesizers. Panic even went so far as to record some of the album at, yes - Abbey Road Studios. For the most part, this effort has proved to be a success. The band has shown it is actually them playing and singing - at least most of the time. All around, the instrumentation has a much more organic sound to it.

Lead singer Brandon Urie's patented voice remains as shrill as ever, but there is a certain charm and effectiveness to it. Throughout the record he moves the listener through melodies more mature and unique than those on their previous album, "A Fever You Can't Sweat Out." With the help of lyricist and guitarist Ryan Ross, it seems the band has abandoned their Fall Out Boy-esque image.

The album opens up with the frolicking "We're So Starving." It's a short tune straight from the "Sgt. Pepper" blueprints that apologizes, "We're so sorry we've been gone / we've been busy writing songs for you." The song is more or less a waste, and is one of the low points of the album.

The album's first single, "Nine in the Afternoon," follows with a bang and makes up for the silliness of the first song. The irresistible melodies, rather psychedelic lyrics, and simple guitar hook drive the song deep into your head, where it is sure to wear out its welcome.

The band's increased musical confidence shows on tracks like "She's a Handsome Woman" and "Do You See What I'm Seeing?" These songs are rich with a variety of lush sounds including mandolin fills and fluttering piano riffs.

Perhaps the most consistent part of the album comes in the middle with the one-two-three punch of "A Northern Downpour," "When the Day Met the Night" and "Pas de Chavel." The first is a subtle and delicate acoustic number with some impressive lyrical imagery: "Through playful lips made of yarn / That fragile Capricorn / Unraveled words like moths upon old scarves / I know the world's a broken bone / But melt your headaches, call it home."

Urie's voice shines over the acoustic strumming. "When the Day Met the Night" is probably the album's strongest song, offering a unique melody and a lot of variety. Finally, "Pas de Chavel" recalls the best of McCartney's Beatles contributions.

The album seems to lose a little steam once it passes the halfway point. However, there are still some solid and interesting songs towards the end. "Folkin' Around" is a very fitting title for the fiddle- laced hoedown. Hearing the rustic, bluegrass sounds behind Urie's not-so-bluegrass voice is an interesting experience.

All in all, while there is nothing "new" about "Pretty. Odd," there is definitely something worthwhile. The album is fun, enjoyable, and should better stand the test of time than the previous release, whose popularity seemed to be based more on fad than merit.

For those who feel above this record, there is no shame in enjoying the auditory pleasure it promises to bring. No, it is not the Beatles and this is not 1968, but don't hold your breath for a time machine or a Beatles reunion any time soon - take what you can get.

Contact Erik Emanuelson at

Erik.Emanuelson@UConn.edu.