Panic at the Disco - Pretty. Odd.
If you have been reading about this album at all, you'll know two things. 1. It has been, will be, and forever be looked at as Panic's attempt to mirror the Beatles. A Sgt. Pepper's of sorts. And yes, this comparison is rightfully made by most of the music magazines and critics, but for my sake I am trying to get past this and evaluate this album more objectively. And 2. It's drastically different than Panic's previous album. And again, this statement is completely true. They've traded synths for orchestra's, computers for analog tape. Real drums, big orchestrations and full harmonies flood this album, and besides the distinct characteristics of Brandon Urie's vocals, there is little similarities between their freshman and sophomore effort.
Except for the lead single, Nine in the Afternoon, Pretty. Odd.'s production has been very mellowed out. Robert Mathes, the producer, did a fine job creating the sounds and arrangements for this record. The tracks are often more mild and reverberant, than tinny, harsh, and dry, which is a good contrast from today's standards of bright and dry tracks invading our ears. From a songwriters standpoint, the songs are pretty basic, yet Panic have bolstered their simple melodies and chords, with extensive instrumentation and vocal harmonies. The timing and feel of the songs are liable to change on the listener at any moment, giving some of the tracks a surprisingly upbeat and happy feel. Ryan Ross's guitar is constantly noodling, making cute, yet effective lines. He has also recently began singing on a few tracks on the record giving a good and mellow contrast to Brandon.
The addition of so many new instruments and voices ends up allowing the album to be complicated enough to keep your attention, but simple enough that the melodies almost turn into really catchy chants. Instead of just using the guitar for chords, Panic employs basically every instrument ever used on any sort of rock album. Fiddle, mandolin, harmonica, strings, and brass all invade the album living it an eclectic yet, Beatles-esque feel.
The lyrics are hard to take seriously after the first album, but Panic does a good job in showing some signs of maturation. Some songs prove to be quite self conscious, noting their own changes in format, style, and song-writing. Other songs tend to be weird and just off the wall with their messages, much like a Beatles tune such as "I am the Walrus" or "Come Together". The lyrics seem to have no rhyme or reason, and are about anything and everything. Overall, I think the actual lyrical content is the weakest link on this record. This is not to say they are poor lyrics, they just often get out shined by the melody or the complex arrangements.
Overall, the album is a stepping stone for Panic at the Disco. The tracks are very good, especially the instruments, but lyrically seem to lack direction and theme. The album is pretty congruous minus a few tracks that seem out of place , such as "Folkin' Around" and "I Have Friends in Holy Places". What is left to be determined is where do they go from here. Will they continue along this path, go back to their roots of computer driven rock, or go somewhere equally unpredictable? I suggest this album to anyone who enjoys very dramatic, fully orchestrated tunes with a knack for a catchy melody. It will be interesting to see where Panic at the Disco ends up next, but hopefully it will be as pleasant as this effort.
Key Tracks
She's a Handsome Woman
The Green Gentleman
Northern Downpour
The Piano Knows Something I Don't Know
Mad as Rabbits
3.75 out of 5 Stars
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