The Daily Gamecock

Paramore returns with fourth album

	<p>After losing two members, Hayley Williams (right), Jeremy Davis (left) and Taylor York have released the band’s self-titled album.</p>
After losing two members, Hayley Williams (right), Jeremy Davis (left) and Taylor York have released the band’s self-titled album.

America’s favorite fiery-haired pop-punk front woman is back with a few new tricks up her sleeve.

But she’s still the Hayley Williams we know and love.

Paramore’s latest self-titled album marks the group’s first release since 2009’s “Brand New Eyes.” The name may be the same, but the band has changed, as only Williams and bassist Jeremy Davis remain from the original lineup. Guitarist Taylor York, who has played with Paramore since 2007, is still around, too, but that’s it as far as official members since the departure of brothers Josh and Zac Farro in 2010.

But with three members at the helm, Paramore still demands attention and produces a powerful product.

The band’s fourth album is epic in length with a 17-song track listing but all over the place as far as genre is concerned. Overall, it’s a fun piece of work.

“Paramore” kicks off with “Fast in My Car,” a radio-friendly summer anthem with a simple, sing-along chorus. It’s more Ke$ha or Katy Perry than kick-ass rebel girl rock, but Williams wears it well. “Still into You,” the album’s second single, is pure bubblegum pop — quite a departure from the band’s punky roots. The song sounds more suitable for a Disney Channel Original Movie soundtrack than the Vans Warped Tour main stage, but hey, maybe it’ll help Paramore pick up a younger generation of fans.

Those detours aside, Paramore packs a punch with catchy new tunes that sound more familiar than foreign. “Now,” the album’s first single and the second track, has power behind it. It’s got the raw edge of older favorites like “Emergency” and “Misery Business” with a bit of the newer, pop-star version of Williams. The chorus delivers a cheerleader-like quality, as she sings, “Now ah ah ah ah ah ow,” drawing out multiple syllables from a short word to be coy and cunning.

“Grow Up,” a sassy track, could reveal a deeper message after a close listen. Williams sings on the chorus, “Some of us have to grow up sometimes / If I have to, I’m gonna leave you behind,” and fans can’t help but think she’s talking to former band members.

Rock ballads have always been a strong suit for the group, and “Daydreaming” doesn’t disappoint. It’s not necessarily a slow song, but the tempo changes throughout give Williams a chance to show off her softer side. “(One of Those) Crazy Girls” has similar mood swings but is a bit more lounge-singer fare than the group’s other work.

“Interlude: Moving On” is brief, but it’s some of the best work on the album. An acoustic ditty, the track plays off as being candid. An echo on the mic mimics low-level audio quality, and it sounds like the band could’ve been recording in somebody’s bedroom rather than a state-of-the-art studio.

“Interlude: Holiday” is irresistibly sexy as our girl channels solo singer–songwriter chicks like Fiona Apple and Sara Bareilles. The final interlude, “I’m Not Angry Anymore,” features ukulele accompaniment and is a cute way to wrap up the album’s acoustic bits.

“Ain’t It Fun” has a touch of gospel hidden within it, a nice tribute to Williams’ childhood, which she spent immersed in church culture. “Part II” starts off with a trippy guitar line and lyrics that reference “Brand New Eyes” (namely a line about “broken butterfly wings,” the image on the album cover). “Last Hope” and “Hate to See Your Heart Break” are both stripped-down tracks on which Williams lets her voice soar and explores sides of her range we’ve never heard before. “Anklebiters” is a shouty, goofy track. “Proof” is fun but kind of forgettable.

“Future,” the album’s closing track, is fairly Zen by typical Paramore standards, but it’s a beautiful end to another chapter in the band’s life. The nearly eight-minute track is punctuated with dramatic cymbal crashes and feedback-heavy guitar, an unusually mature, heavier sound for the band. Williams croons, “You’ll get away from here, you’ll get away eventually,” and suddenly you feel like she’s right.


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