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Released: 2015
It's the old chestnut of an artist that makes surprising, and somewhat drastic changes to their music. Do they do it for the shock factor? Or do they do it because they are bored of their old style? Fall Out Boy, the former stalwarts of the emo trend, hit us up with their sixth album American Beauty/American Psycho at the start of this year, an album they wrote whilst on tour with Paramore. An attempt at making a more cohesive album than their previous efforts followed, but the problem with this is it sometimes takes away the artists identity as they intend on replicating what's currently popular.
Irresistible was one of the tracks I was familiar with beforehand, with its somewhat humorous music video where the fellas get their asses handed to them at basketball. It was, and still is, my least favourite of their singles. You just wouldn't think this is the same band that added tonnes of weight to Beat It or wrote The Carpal Tunnel Of Love. The title track is a step in the right direction; poppy hooks with a rock beat, and whilst Centuries doesn't carry that description on, it still sits high because it's just too damn catchy to simply forget. It also reminds you that Patrick Stump can kick it with the big boys when it comes to his voice. I'd love to see him perform this live just to see if he can manage the chorus vocals for the entire song. The Kids Aren't Alright takes it down a notch, and even manages to sample Motley Crüe, complimenting the sombre guitar riff and echoed vocals.
Uma Thurman, like Uptown Funk, is one of those songs I just have to dance to every time I hear it. Surf guitar alongside bouncy piano chords ensure feel-good vibes all around. The powerful chorus of Jet Pack Blues is just about enough to make it stand out, otherwise I feel it would be one of the more forgettable tracks on the album, and Novocaine has that infectious disco feel that The Phoenix had, but it almost seems like a lazy rip-off. Fourth Of July could've been a sub-par Katy Perry single, and Favorite Record (yes that's how it is spelled; I know it hurts me too, but remember where they're from) mixes elements of Snow Patrol and The 1975 to form an indie stomper. Immortals is another uplifting and memorable pop song, and just like that, the album finishes on Twin Skeleton's (Hotel in NYC), and with the guitar work on this album being a little threadbare, it's refreshing to be able to swoon over the riff in the chorus. It's a fitting end, and what will be another reminder of just how far these boys have come from Grand Theft Autumn.
I didn't dislike this album, I just... found it boring at times. There are some songs on it I'd definitely have on my playlists, but when some of the filler is, well, exactly that, it's hard to rate the album so highly. The guys are growing up, and you knew that they would never want to rely on their pop-punk forever, but Save Rock N'Roll was risky business as it is. For someone who has seen them put on a terrific rock show twice, this was just a bit too much for me to get my head around. It could be a grower, but for a band who have incredible instrumentation skills, this album felt like it could have all been produced by lifeless machines. Were it not for Patrick Stump's pipes, you'd be forgiven for not having a clue who wrote this album.
Rating: 6/10
Recommended songs: Centuries, Uma Thurman, Twin Skeleton's (Hotel in NYC)
