★ ★ ★ ★ out of 5
Since late 2005, and with the first spin of top ten hit "I Write Sins Not Tragedies", American rock band Panic! At the Disco has experienced a few dramatic, newsworthy changes in the line-up, a for-better-or-worse reinvention in sound with every album release, and even a slight name modification... that lasted all but one minute.
From the punk rock tunes of their debut album to the 70s folk/pop music found on Pretty. Odd, from their simple, lyrically-driven third effort to the 80s Depeche Mode, Sin City-inspired vibe of 2013s Too Weird To Live, Too Rare To Die!, it all leads up to the recent release of the band's new Frank Sinatra-influenced Death of a Bachelor. It's all proof that sole remaining original member Brendon Urie has done it all and succeeded.
Preceded by the release of two official singles and four more promotional efforts, including "Hallelujah", the band's second Top 40 hit, the fifth studio album is a melting pot of organized chaos, seemingly inspired by the jazz genre and legendary rock band Queen. The album is the beginning of a new, bittersweet era for the band as they continue to push forward while keeping in touch with their hard edged roots. That constant struggle and devotion paves the way for a possible number one album debut, a first for the 10-year-old band.
Album number five kicks off with the intense and passionate "Victorious". With an underlying message of lead singer Brendon Urie's inability to be an athlete, the current single becomes a loud, aggressive rock anthem as opposed to their softer previous efforts. With volume and energy on high, heavy guitars and percussion assist in the exciting, head-banging production. Urie's vocal performance comes off with a sense of urgency, still able to immediately command attention even after a decade on the music scene.
With an updated instrumental sample of the B52’s quirky “Rock Lobster” as its base, promotional single “Don’t Threaten Me With a Good Time” is a song that perfectly sums up Urie’s goal of mixing in a throwback punk sound with his desire to work towards new inspirations. Seemingly constructed for the next Tim Burton feature, the vocal performance comes off as dark and reflective, before a controlled, glittering guitar solo makes for a wild, reckless experience.
"Hallelujah" is a celebratory song to welcome the changes in life as Urie chants to let the positive feelings move through you. As it opens with strange yet intriguing sports film-sounding production, the rock/pop song is encouraging listeners to own up to their mistakes, their sins, and embrace them. "All you sinners stand up sing hallelujah, show praise with your body stand up sing hallelujah," he belts on the uplifting chorus, one that pulls together the underlying message of the new song together quite nicely.
Not only is it supported by a brilliant, sinister music video, but “Emperor’s New Clothes” is accompanied by menacing background production as well. After some time away, Urie is ready to take back his crown, reiterating that while heroes will always be remembered, legends never die. The overall track is a huge, psychotic success, holds immense single potential, and will be a favorite to the brave and fearless. The last minute high note is just the cherry on top.
On the jazz/soul-inspired title track, the supposed Frank Sinatra inspirations come through the strongest. While the Sinatra-imitating vocal delivery from Urie on "Death of a Bachelor" may be confusing at first, it easily helps convey the endearing, slightly depressing nature of the heartfelt songwriting. "Alone at a table for two and I just wanna be served, and when you think of me am I the best you've ever had?," the singer sadly asks, wanting just one more smile before the ultimate end.
The pace is picked up and the scene gets a whole lot weirder on "Crazy=Genius", a track with a debut album throwback rock sound and a muddled lyrical premise. The cabaret-sounding instrumental production is a bright moment, complex and enthralling, however it may be the only redeeming quality for the slight, explicit misstep. The Beach Boys references don't hold and the progression sounds intentionally off on the filler track.
While the band's previous album was inspired by Las Vegas, the pop/rock "LA Devotee" is carried by the lights of Los Angeles. While the initial thought of the famous city is filled with glowing images of Hollywood and success, the song focuses on the degrading struggles that come with trying to survive the competitive nature of the beautiful surroundings. The power of the promo single lies within the controlled vocal performance and vivid, narrative songwriting.
"Golden Days" appears to find Urie reminiscing on his cheery, past experiences with the band, while looking ahead at the bright prospects on the horizon. Of course, the song holds a broader meaning and prospective, becoming a positive anthem for anyone currently dealing with life-altering changes. "Forever younger growing older just the same, all the memories that we make will never change," the singer reassures in front of contagious guitar riffs.
Another bridge to the glowing early days occurs with "The Good, The Bad and The Dirty", a track where Urie prepares for a fight while retelling tales of past, questionable antics. When he become the final original member of Panic!, Urie was able to give the songs a personal touch, the lyricism carries the song to revealing heights, supported by a confident instrumentals and an easy-to-follow, rock radio ready progression.
Though a bit out of place, the electro/rock-driven "House of Memories" could be a sneak peek at a possible direction for a sixth album, or a solo debut from Urie. The singer warns lovers that the aftermath of a break up will only get worse the more involved they become. Though there's a glimpse at hope in the beginning, it gets more grim following an ominous piano interlude. "Those thoughts of past lovers, they'll always haunt me, I wish I could believe, you'd never wrong me," he sings.
The album closes out with the ballad-esque “Impossible Year”, where Urie brings back the Sinatra-inspired vocal delivery and the full, brass-heavy orchestra to support his somber stories of a broken relationship. The songwriting is kept simple and straight to the point, allowing the heartache to grab hold and impact the listener. Urie is often known for his infectious charisma, it’s a shock to hear that’s disappeared on the heartfelt closer.
Death of a Bachelor may not be as groundbreaking or cohesive as Panic! At the Disco’s previous album effort, but it does strongly showcase the abilities of Urie as a solo artist, with high marks going to the authentic lyrical content and passionate vocal performances. The premise of a Frank Sinatra/Queen inspired project, mixed in with love for Beyonce and punk rock, might make skeptics cringe, but somehow the band is able to pull off the far-fetched artistic goals. As Urie takes plenty of inspiration from the band’s early work, he tries to capitalize on the nostalgia, while effortlessly allowing it to work a decade down the road. The act has always changed up their sound and style and even though it’s the fifth time around, the new album shows that the band has not run out of tricks or innovation.
Tracks to Hear: "Hallelujah", "Emperor's New Clothes", "Death of a Bachelor", "LA Devotee" and "House of Memories"
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