Literally, before last weekend had past, I had barely shot a passing glance towards the new Paramore album. In hindsight, a part of me felt as if Paramore had been locked away when I had turned 20, with their first three albums - All We Know Is Falling, Riot! and Brand New Eyes - being relocated under the 'nostalgia' pile, with the band never aging, or growing up.
However, after seeing various opinions through social media - most supplied via Hayley Williams re-Tweets - I began to grow intrigued upon seeing comments such as 'Paramore has changed, not keen on this album' and 'Paramore has changed - best album yet!'. Wanting to find out for myself, I gave it a listen or three, and found my self somewhat surprised.
Their fourth, self-titled studio album can be viewed as somewhat of a mixed bag; there are definitely some quality Paramore-pop songs tucked in there, many of which I find myself unintentionally humming prior to realisation; I guess that makes me a tad addicted. The first pair of songs are beyond catchy and result in the aforementioned effect, with album opener 'Fast In My Car' going from 'beyond irritating' to 'I want to listen to this noww' in a matter of plays. Speaking of 'now', 'Now' - the first single from the album - is a definite grower, with Williams hitting some rather impressive power notes that I can't help but attempt (and fail) to mimic. At first it felt like common fodder, somewhat lacklustre, but in hindsight it was simply unfamiliar. The first truly mediocre song for me would be 'Grow Up', ironically because it sounds rather juvenile and possesses a rather underwhelming chorus. It is on 'Daydreaming' that we first begin to feel that we are beginning to venture into some slightly new territory, with the strings on the verses causing them to sparkle, and the instrumental after the bridge has a euphoric edge, however it is again let down by a repetitive chorus.
Now, the first big difference: The Interludes, of which I'm not sure whether to regard positively or with trepidation. The three are short ukelele driven songs with a tinny and retro sounding vocal and, whilst 'Holiday' and 'I'm Not Angry Anymore' are catchy, thought chilled out little ditties, it is 'Moving On' which is the highlight of the trio. Other highlights of the album include 'Ain't It Fun', with it's rather gospel sounding ending and also 'Last Hope', but most irking however, is 'Part II', which is literally a rehash of Paramore's Riot! era song, 'Let The Flames Begin'; it literally has the same lyrics - multiple times, however the later instrumental on the bridge brings to mind Watch Out! era Alexisonfire; a song of multiple exclamation marks, it seems, both good and very bad.
The band definitely channel the roots of their homeland (Nashville, Tennesee), with songs like 'Hate To See Your Heart Break' and '(One Of Those) Crazy Girls' carrying a country-esque vibe, whilst 'Still Into You' is pure, unabashed POP! - however, it is album closer 'Future' which is most surprising, which deceivingly smoulders for three minutes before hitting us with a crescendo of noise, one which you would never in your wildest imaginings would expect to come from Paramore, it is positively metal in intensity, a symphony of noise that is, oddly, a perfect end to an unexpectedly decent album steeped in pop sentimentality and, if you are willing to take it is for what it is, there is a lot to enjoy there; perhaps Paramore are finally growing up.
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