Truthfully, the lyrics are noticeably repetitive, but unlike “Local God” - a song on the album that sits solidly in the “mediocre” tier - that repetition is not so pronounced as it is irritating. Much like “Sad Clown,” it feels more like some of Panic! at the Disco’s older songs, which is rarely a bad quality to have. “Say It Louder” benefits from the same thing. On another Panic! album, “Sad Clown” would probably sit in the middle of the pack, but because “Viva Las Vengeance” is mediocre to begin with, “Sad Clown” gets some time to shine. There is even a charming violin piece to close the song, which contrasts significantly with the rest of the track but still ties everything together nicely. ![]() The song gives him room to belt, and his vocals sound much healthier than in some of the earlier songs. It is objectively a peculiar song - but so are a lot of Panic! at the Disco songs, and “Sad Clown” elevates itself above a primarily lackluster bunch by being a little more old-school Urie. It still isn’t super noteworthy, but it was a clear step in the right direction for “Viva Las Vengeance” and allows the album to settle in a desperately needed way.Īnother solid song on “Viva Las Vengeance” is “Sad Clown,” which comes on the album’s back half. It has just a touch of country twang, making the song distinct without overpowering the quintessential Urie that all Panic! at the Disco songs have. The third song, “Don’t Let The Light Go Out,” is a departure from the classic Panic! style, but it still manages to hold its own. The chorus is similarly underwhelming in this album opener, and the song overall is disappointing - especially because Urie and Panic! have proven that they can create significantly better music.įortunately, the album turns around a bit after that rocky start. The album’s title track, “Viva Las Vengeance,” shares the same qualities that make “Middle of a Breakup” something of a letdown. For an artist who has made his living off his powerful, crystal-clear voice, it’s a decision that leaves the listener wondering if “Middle of a Breakup” was a production failure or simply a sign that Urie’s talent is starting to wane with age. The chorus is underwhelming - a trait many of these songs share - and the vocals feel slightly pitchy and forced. Unfortunately, the opening is where the song’s excellence starts and ends. ![]() It has an instantly recognizable introduction that Urie revamps to begin the new track. ![]() One of those songs, “Middle of a Breakup,” pulls its opening from “Hallelujah,” an old Panic! at the Disco song that is still considered one of the band’s best tracks.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |