Reflecting On: Fall Out Boy – Folie à Deux

Like the other albums I’ve reflected on this past year, I was eleven (and completely oblivious) when Fall Out Boy’s album Folie à Deux was released. Now I’m 21 and, while there are some who still feel like this wasn’t their best work, I’m of the other camp that considers this to be one of Fall Out Boy’s – and the scene’s – best releases.

You can buy or stream Folie à Deux on Apple Music.

One reason people didn’t like it when it came out was because it wasn’t the hard-hitting, pop-punk follow-up to 2007’s Infinity On High. This is where I feel that listening to it later gave me an advantage. I never liked Fall Out Boy until my best friend basically forced me to listen to them. I’m pretty sure I didn’t even know that “Sugar, We’re Going Down” was their song. I know, it’s looking bad for me.

Anyway, with that major confession out of the way, I’m a big Fall Out Boy fan now. I even almost gathered up the courage to use “(Coffee’s for Closers)” in a high school music theory class presentation on Baroque music because of how the strings are layered at the end of the track. I played it safe and used a piece by Handel, but I legitimately regret not using the FOB song.

I wasn’t a huge fan of MANIA, but I guess that puts me in the same position that everyone who didn’t like Folie was in when it released. Now that everyone’s gotten over thinking Folie is weird or whatever, it took its rightful place (where all underrated albums should go) at the top of the fanbase. Maybe MANIA will make it there at some point, but at that point I’ll be 31 and won’t care (Ed. note: Yes, you will).

When I finally saw Fall Out Boy live this past August, they opened with “Disloyal Order of Water Buffaloes”, which was surprising to me. Folie is an album that has a lot of emotional baggage attached to it. I would understand if the band didn’t want to play any tracks from it again, because I’m sure it’s potentially salt in the beginning-of-their-hiatus wound. From a fan standpoint, though, I was disappointed that the only other track they played from Folie was “I Don’t Care”. It’s definitely selfish of me to want them to play songs written in the darker portion of their history, but I feel such a fondness for and an attachment to the album that I wanted it to have better representation.

I believe the experimentation that happened in the production of the album really brought the band to where they are today. If in 2008 they have released another Cork Tree or Infinity On High, I doubt they woud’ve come back in 2013, or in 2015, or just this past January. Maybe the fact that Folie wasn’t as popular as their past work was a blessing in disguise. I think they needed that lull in the action. It allowed them to take some time off and could be (should be?) seen as a sigh of relief rather than just a bad album.

Maybe it’s a bit of a cliché that I ended up being such a fan of Fall Out Boy’s best album. I think it’s their best because of where they were personally. Tensions were running high between the members, totally burnt out from their last, also very good, album. I feel like they realized they were over before they ever officially announced it and thus gave Folie à Deux their all. The vocals are some of Patrick’s finest, the musicianship is innovative, the guest vocals could fill a red carpet. It really does bring together all of Fall Out Boy’s best qualities and amplifies them.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

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Review: Fall Out Boy – Lake Effect Kid

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It’s a cliché at this point for bands to try to rediscover their roots or pay homage to their hometown. However, Fall Out Boy’s Lake Effect Kid EP is one of the few that feels genuine. Brief as it may be, these three songs not only form a love letter to Chicago, they offer a brief history of the band’s evolving sound. What could have easily been a quick gimmick is actually a near essential piece that quickly and unapologetically shows Fall Out Boy paying attention to their own legacy.

You can buy or stream Lake Effect Kid on Apple Music.

“Lake Effect Kid” is a B-Side that has made the rounds online for quite some time. Without a proper release or context, it could be easy to overlook. I have often enjoyed the song, but understood why it had been cut from Infinity On High or Folie à Deux. However, this new mix sounds more refined and complete. Additionally, when paired with “City in a Garden”, the song takes on more body, context, and heart.

“City in a Garden”, though it may be a Chicago-centric love fest, is arguably Fall Out Boy’s most accessible and singable single since “Thnks fr th Mmrs”. Oozing with nostalgia, hooks, and dreamlike drumbeats, “City in a Garden” is for Chicago what Jason Mraz and the Red Hot Chili Peppers are for California. While it sonically sounds like a ballad off an older release, the synth and beat are distinctly part of FOB’s new era. “City in a Garden” manages to encapsulate almost every aspect of Fall Out Boy that could make a person fall in love with the band.

Lake Effect Kid’s biggest strength is how reflective it is, while still pushing ahead for the band. “Lake Effect Kid” is the pop punk older fans have been craving for years. “City in a Garden” is the kind of pop song the band couldn’t have written even a couple of years ago without the experience they have now. Meanwhile, closing track “Super Fade” moves forward with experimentation in a place that won’t ruin the flow of a full album. Borrowing heavily from the divisive single, “Young and Menace”, “Super Fade” sounds like a slip-up of a song. However, this EP is the ideal place to work out the kinks of this style of songwriting.

Lake Effect Kid not only pays homage to Chicago as the band’s stomping grounds, it pays homage to their past work. The EP is an answer for anyone who has claimed that the band sold out their sound over the last few albums. Equally as exciting, it shows Fall Out Boy’s willingness to look back on themselves with the same reverence and enthusiasm they’ve shown when looking forward.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and makes a gosh darn good apple pie.

Podcast: Unraveling Fall Out Boy’s “MANIA”

MANIA, the seventh full-length album from Fall Out Boy, has arrived. And it is divisive. Kiel Hauck and Kyle Schultz hold an emergency podcast to break down the album’s release, discussing the tracklist fiasco, how the album holds up against Fall Out Boy’s growing catalogue, and where the band goes from here. After you listen to the episode, check out Kyle’s stellar review of MANIA here.

Subscribe to our podcast here.

What do you think of MANIA? Share in the replies!

Posted by Kiel Hauck

Review: Fall Out Boy – MANIA

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MANIA may be the most infuriating album of the last few years, and one of the few to actually exist and live by its name. Announced nearly a year in advance, launched with a lackluster single, delayed six months, and posted with the wrong tracklist on every digital platform, MANIA is a mess at every conceivable angle. And yet, it is absolutely brilliant.

You can buy MANIA on iTunes.

It is the direct result of Fall Out Boy’s experimentation in pop since their reformation in 2013. The songs are cleaner and the choruses reflect the soaring experiences of Folie À Deux. But MANIA is an experience unto itself that forces you to earn its respect. This will surely be Fall Out Boy’s most divisive album for a number of reasons, but one stands out in particular: There are accidentally two versions of it. If nothing else, the album is a master class in how the order of the tracks can make or break an album.

The initial digital release (the wrong tracklist) held to my belief that I wouldn’t care for MANIA. It sounded dourer and lacked the energy I expect of FOB; just a bunch of uninspired singles with “Young and Menace” as its thesis. However, once the tracklist for the physical release appeared (the right one) and the songs were rearranged, it completely and utterly changed everything. MANIA was an entirely different album that somehow shined and overflowed with the confident sway of Fall Out Boy. It was tight, concise and moved seamlessly.

This version of MANIA is the best album Fall Out Boy have released since Infinity on High.

This album shines with the sound of a classic the way the band’s early releases did. After the unarguable mixed results of pushing the radio-pop sound of their last two albums, MANIA focuses those efforts to a fine point. The guitars are more noticeable than any release since their pop punk days, the percussion is hypnotic, and the bass is monstrous. Patrick Stump, already guaranteed to give a stellar performance, absolutely soars. If the singles didn’t impress upon initial release, listen to them in the context of the album. I don’t know what black magic is at work, but it somehow changes everything.

Opener “Stay Frosty Royal Milk Tea” is a dark rock song with a deep bass that sets up the album with a thesis of acknowledging a chaotic world and the frustrations in it, but how a belief in yourself can overcome it. “The Last of the Real Ones” is a raging pop song centered on imagery of celestial bodies spinning in space.

One of the biggest surprises is the pairing of “Church” and “Heaven’s Gate” at the midpoint of the album. “Church” is an epic sounding rock song that focuses on Pete Wentz’s melodic bass leading a ‘church’ choir through the song. Accompanied by the soft chime of bells and Andy Hurley’s hard percussion, Stump finds equal footing in the love song and prays for a way through personal demons as he sings, “I love the world but I just don’t like the way it makes me feel / Got a few more fake friends and it’s getting hard to know what’s real”.

“Heaven’s Gate” is much softer, with a soul sound that allows Stump’s vocals to jump in spectacular fashion. If you ever needed proof that he may be the best vocalist of any rock band, this will be all the evidence you need. Propelled by the strength of “Church” before it, “Heaven’s Gate” feels all the stronger when Stump croons, “Give me a boost over heaven’s gate / I’m gonna need a boost cause everything else is a substitute for your love”.

Which brings us to “Young and Menace”, the reason I initially soured to MANIA a year before it was even released. An EDM inspired hot mess with a bare thread chorus, I have found this song near unlistenable since its release if for no other reason than the high pitched sampling of Stump’s vocals during the breakdown. However, sitting near the end of the album (instead of the opening track), it is propelled by the songs before it and doesn’t sound nearly as out of place.

After the soaring choruses and precise pop of songs like “HOLD ME TIGHT OR DON’T”, “Young and Menace” is an acknowledgement of Fall Out Boy’s mixed reception since their reformation. The song itself is the most extreme sound they’ve ever attempted, as though it is meant to turn off listeners. However, as Stump sings, “I’m just here flying off the deep end / I’m just here to become the best yet / I’m here for the psych assessment / I’m just here for the, for the fall”, it’s a message to fans that they are aware that they aren’t writing the punk songs half of their fanbase still wants. Instead, they know what direction they to travel in order to become the best band they can be.

MANIA is an anomaly that may just change your opinion of it based on what tracklist you hear. It forces you to work to enjoy it. But once it clicks, it is a beast that harnesses years of experimentation. Even a song as manic as the garbage fire of “Young and Menace” feel like one big feint to throw you off the trail, just to swing out of nowhere. It took a year to make me excited about this album, but it was absolutely worth the wait.

5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and cannot accept how much he enjoys MANIA. On a scale of just and even, he is sooooo can’t. See you at Wrigley, you monsters of music.

Preparing Ourselves for Fall Out Boy’s “MANIA”

On Friday, Fall Out Boy will return with their seventh full-length album, MANIA. As with everything the band is involved with, debate has been heated in the months leading up the release, sparked early on by a strange single (“Young and Menace”) and the odd delayed release of the album itself.

At this point, we know what to expect from post-hiatus Fall Out Boy: soaring anthems, spectacular vocal gymnastics from Patrick Stump, radio-ready choruses, and some clever lines from Pete Wentz that harken back to the band’s early days. Will MANIA meet fan expectations? Maybe not. But there’s no questioning that we’ll be talking about it well into the summer.

In preparation for Friday, the It’s All Dead writing staff shared their thoughts on the album and how their Fall Out Boy experience has evolved over the years.

***

As big of a fan of Fall Out Boy as I am, I’m not looking forward to their seventh studio album. I just don’t know if they still have it in them. Every single I’ve heard thus far – and they’ve released five out of the 10 tracks on the album – hasn’t excited me or brought me the same feelings that American Beauty / American Psycho did, and definitely none of the feelings Folie a Deux (my favorite FOB album) did. I took AB / AP with a grain of salt upon its release, and I like it on its own, rather than as a cohesive addition to their catalog, so maybe MANIA will do the same.

Fall Out Boy have come a long way since they started out in 2001. They became kings of pop punk with Take This to Your Grave and kept climbing until their hiatus in 2009. When they returned to the scene with 2014’s Save Rock and Roll (which did the opposite of the title, if you ask me), I hoped they could rally back and regain the same traction they had originally. Their focus, musically, turned pop and I think they’ve largely suffered for it.

I originally was excited for MANIA, but from what I’ve heard so far, that excitement keeps dying a little bit every day. Here’s hoping they prove me wrong.

– Nadia Paiva

***

MANIA is the first Fall Out Boy album that I haven’t been excited about. When “Young and Menace” dropped last year, I found it nearly unlistenable. In that instant, I made my decision: I was going to hate the direction of this album. However, that has changed after the delayed release and the onslaught of new singles throughout the fall.

Many of the newer singles are a solid mix of inspiration from the pop of Folie À Deux and the dance vibe of American Beauty / American Psycho. “Last of the Real Ones” and “Hold Me Tight or Don’t” are quickly becoming Fall Out Boy staples. While “Young and Menace” still hangs like a specter of an album opener, I hope that the six-month release delay did the band good. The singles are more cohesive as a unit than those of their last albums.

I hope that MANIA will be a return to form that flourishes as a cohesive unit. While I have enjoyed each album since the band’s reformation, they have sounded more disjointed than their classic releases. Where Save Rock and Roll and American Beauty / American Psycho sound like a collection of singles, I want MANIA to be a flourishing unit. Even if it starts with a dud.

– Kyle Schultz

***

I’m all in. Yes, I had a hard time swallowing “Young and Menace” upon its release and will likely skip the track every time it comes on in the future, but there’s no more denying Fall Out Boy’s ability to write hits. In recent years, I’ve fully embraced a suppressed love of pop music that a younger version of myself refused to acknowledge existed, which has seemed to time itself perfectly with Fall Out Boy’s transformation.

While it’s true that 2018 Pete Wentz lines like “I’ll stop wearing black when they make a darker color” don’t tickle my emo soul the same way his 2005 lyrics did, I love that the band keep winking at their past, even as their sound branches further and further away. And honestly, wouldn’t we all be complaining if the band tried writing From Under the Cork Tree while in their mid-30s? We may not like every decision they make at this point in their career, but it’s hard to argue that they’re doing it their own way.

Who knows, maybe MANIA will fall flat, but based on the mere fact that three of the five tracks released thus far have been delightful, I’m expecting at least a handful of jams to blast all summer long. Maybe my Fall Out Boy expectations have lowered over the years, but that’s enough for me.

– Kiel Hauck

Reflecting On: Fall Out Boy – Infinity on High

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I believe Infinity on High to be Fall Out Boy’s best album, but there’s plenty of room for debate. What’s not up for debate is the fact that the scene will never again see the heights it reached by the time the album released.

Between the moment “Sugar, We’re Goin Down” hit radio airwaves in 2005 and the opening notes of “This Ain’t a Scene, It’s an Arms Race” first graced our speakers in early 2007, things had changed. Underoath had a gold record. Gym Class Heroes were in regular rotation on top 40 radio. Cartel had signed on for an MTV reality show. Panic! at the Disco had graced the cover of Rolling Stone. A few months later, Paramore would crash the party and go platinum.

You can buy Infinity on High on iTunes.

You can buy Infinity on High on iTunes.

To say that the stakes were high for Fall Out Boy leading up to the release of Infinity on High would be putting it lightly. With From Under the Cork Tree, the band had fallen backwards into unlikely stardom, effectively dragging an entire scene into the spotlight with them. Was Fall Out Boy’s success a flash in the pan, or were they truly an outlier – a band with legs that could carry them far beyond the confines of the Warped Tour bubble?

Infinity on High did not disappoint, and in hindsight, it’s easy to look back at the album as the moment that Fall Out Boy lifted the title belt as the clear winner of the very competition they inadvertently started.

If you’re like me, you can easily recall certain moments outside of the music itself that stick out in your mind. The shock of hearing Jay-Z’s voice open the album, declaring the band’s arrival on the big stage. Walking into a Circuit City and seeing the video for “This Ain’t a Scene” playing on every TV screen in the store. Finding the band on the cover of magazines and tabloids in every check out line, exuding an air of emo indifference.

Ironically, it was this very fame and the suffocation it breeds that led Pete Wentz to unleash his pen in retaliation. Wentz had already cemented himself as a narcissistic, silver-tongued lyricist before Infinity, but decided to turn his attention away from perpetual heartbreak and self-destruction and toward critics, haters, the scene and even himself.

Wentz flashes his pessimism on “The Take Over, The Breaks Over” with, “They say your head can be a prison, then these are just conjugal visits / People will dissect us till this doesn’t mean a thing anymore”. Moments later on “This Ain’t a Scene”, he dismisses the late arrivals: “This bandwagon’s full / Please, catch another”.

With the release of Infinity, the days of starry-eyed Chicago boys with dreams of a breakthrough would forever be over. The consequences of those achievements proved to be even more compelling. Wentz’s ability to communicate the resulting pain in between his rapid cocksure gunfire remains both legendary and poignant in lines like, “The only thing I haven’t done yet is die / And it’s me and my plus one at the afterlife” and “I sing the blues and swallow them, too”.

With lyrics this meaty and full of double meanings and unexpected turns of phrase, translation into digestible bites would have been nearly impossible had Patrick Stump not come into his own at just the right moment. On Infinity, Stump makes his first major transition from pop punk crooner to pop star diva, taking full advantage of his vocal range. His high notes are higher, his runs are more daring, his melodies are tighter. With the band now fully incorporating R&B, pop and soul elements, it provided the perfect platform for a star to appear right before our very eyes.

As a result, the band’s most unrelatable album became a smashing success on the charts. Half victory lap around the ring, half vicious rebuttal to naysayers, Infinity on High succeeded amidst Wentz’s snark thanks to a sonically diverse experience that elevated the band out of the pop punk mire. Even so, early signs of the band’s crash landing hiatus could be seen on the horizon, with Stump and Wentz fighting for the proverbial spotlight with drummer Andy Hurley and guitarist Joe Trohman watching from the sidelines.

As clear as the warning signs were, it’s also obvious that this period of the band’s career made their later comeback possible. Fall Out Boy’s 2013 rebirth and subsequent return to the top of the charts speaks volumes to the clout the band has earned. Following the events of 2007, the scene at large would begin to descend back to its original home in the underground with only a few stars surving the oversaturation.

A decade later, it’s nearly impossible to imagine a band from our scene rising to fame as quickly and powerfully as Fall Out Boy. Could another band be this divisive? Be this willing and able to transform? Have this much longevity? Love them or hate them, Fall Out Boy are still the undisputed champions of a short-lived arms race, with Infinity on High standing as a monument to a time when the sky was the limit. Long live the car crash hearts.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Fall Out Boy – From Under The Cork Tree

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From Under the Cork Tree was an album that slipped under my nose entirely when it first came out. I was too busy gushing over New Found Glory and Saves the Day to notice Fall Out Boy, a band that seemed to rise out of nowhere, thanks to a swanky music video for “Sugar We’re Goin Down” that featured a boy with buck antlers winning the heart of a young lass.

That video was everywhere. The song dominated the airwaves of radio and television alike in the summer of 2005, the likes of which we haven’t seen since. From Under The Cork tree is important, and not only for being the album that gave rise to arguably the biggest rock and roll megastars of their generation. It signaled a new era of pop punk unlike any that had come before it, as well as the death of the genre to mainstream media.

Fall Out Boy was already a big name to those paying attention at the release of the album, but they were staples as soon as “Sugar We’re Goin Down” landed. The album is a lesson in swagger that the genre had never really seen before. Pop punk is grounded in songs about girls, but few brought the confidence and sexiness to the genre like Pete Wentz.

“Of All the Gin Joints In All the World” has Patrick Stump singing, “Turn off the lights and turn off the shyness / Cause all of our moves make up for the silence / And oh, the way your makeup stains my pillowcase / Like I’ll never be the same”. In the same breath, the instant meta-introspection kicks in as he sings, “You only hold me up like this / Cause you don’t know who I really am”, questioning the value of romance when fame overshadows everything else.

The album was a versatile beast, sounding deeper and more thoughtful than anything else competing for attention. It tackled every convention; the standard pop song (“A Little Less Sixteen Candles, A Little More “Touch Me””), the rocker (“Champagne For My Real Friends, Real Pain For My Sham Friends”) and the obligatory acoustic ballad.

For a song that slows the record down, “I’ve Got A Dark Alley And A Bad Idea That Says You Should Shut Your Mouth (Summer Song)” touches a critical spot of insecurity for anyone just coming to terms with themselves as Stump sings, “We’re the kids who feel like dead ends / And I want to be known for my hits, not just my misses / I took a shot and didn’t even come close / At trust and love and hope / And the poets are just kids who didn’t make it / And never had it at all”.

From Under The Cork Tree is a rare exception in pop punk. All too often, great albums fall under the radar and fail to get the credit they deserve for forging a new path. Not only did this album get recognized as a game changer, it launched Fall Out Boy’s career to one of the biggest acts on the planet and it changed the genre as a whole.

Pop punk faded from mainstream music shortly after this album released, whether by the taste of the public or the fact that bands tried to imitate them almost immediately, to varying results. Pop punk sank back to the underground genre it had been before Blink-182 put it in the public’s eye.

One positive effect was that bands wanting that kind of success had to try harder. Pete Wentz’s own Decaydance record label (a part of powerhouse Fueled By Ramen) gained traction after the album. For a solid two to three years, the best bands in the business (Panic! At the Disco, Cobra Starship, Gym Class Heroes and The Academy Is…, each of which made their own significant splashes on the scene) were either signed to Decaydance or had some type of relationship to FOB.

One of the more remarkable aspects of From Under The Cork Tree is just how different it sounds from the FOB of today. Pop punk was used as a spring board to launch the band into a direction of intense, dark pop music unlike anything else out there. This record helped redefine a genre already rich in identity, but after returning from hiatus two years ago, the band have constantly redefined themselves. From Under The Cork Tree started a long trend of fans arguing which era and album from FOB’s career is the best for the last ten years. It’s an evolution, and a successful one, that no one knew could be possible.

From Under The Cork Tree ushered in the modern era of pop punk, and is more or less the foundation that a sizable amount of up and coming bands base themselves on, even now. Ten years later, we’re still feeling the ripple effects of its initial release. Whether you love or hate Fall Out Boy, there’s no denying that this one album single-handedly changed an entire genre of music.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and would like to hug Patrick Stump for an uncomfortable amount of time.

It’s All Dead Podcast Episode: 012 – The Best of Fall Out Boy

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If American Beauty/American Psycho is any indication, Fall Out Boy are at the top of their game with no signs of slowing down. After a decade of relevance for the band, Kiel and Kyle decide to reflect on the band’s career and rank the band’s albums and best songs. They also discuss Fall Out Boy’s legacy and contemplate what the future may hold for the band. What is the best Fall Out Boy album? You’ll have to listen in and find out!

[audio http://traffic.libsyn.com/itsalldead/IAD_Podcast_012_mixdown.mp3|titles=It’s All Dead podcast episode: 012]

Subscribe to our podcast here.

Posted by Kiel Hauck

Review: Fall Out Boy – American Beauty/ American Psycho

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If one thing has characterized Fall Out Boy’s return from their hiatus two years ago, it has been ‘going big.’ Save Rock & Roll was a bold step for a band that came back out of nowhere to appease a legion of fans expecting pop punk emo songs. Despite the complete upending of their signature sound, the style and glamor that made FOB famous was still there in the finesse.

American Beauty/ American Psycho takes every ingredient of Save Rock & Roll and amplifies them to the utmost degree. What results is an album that is either the band’s greatest achievement or the most abrasive listen for their fans.

Let’s get this out of the way: If you want Take This To Your Grave-era FOB, you will hate AB/AP. This isn’t for you. Fall Out Boy have crafted a pop album so epic, Maroon 5 should feel ashamed. There is a depth to the songs that seems impossible. The percussion and beats are hard and made to fill a dance floor. Spread over them is a sea of swarming guitars and synth, and some of the best bass Pete Wentz has put out there.

What’s amazing about AB/AP is that it’s such an eclectic mixture of styles. The entire album is at once cohesive and intensely diverse. Each song sounds ready to either fill a stadium or a dance floor, but the styles vary from song to song. “Irresistible” is a polished pop song with an over the top glam chorus, “Uma Thurman” is a surf rock inspired grinder and “Jet Pack Blues” is a somber ballad-esque jam. For as diverse as the album can be, it doesn’t sound as slapped together as parts of Save Rock & Roll, instead it shows the artistic foresight and planning of an album like Infinity on High.

FOB haven’t completely abandoned rock for pop. “Novocaine” is a grunge inspired song reminiscent of a blend of “Headfirst Slide Into Cooperstown On A Bad Bet” and “From Now On We Are Enemies”. The guitar riffs are brutal but carry the soulfulness of early Fall Out Boy, followed by an insanely catchy but impossible to sing along to chorus (due to Patrick Stump’s high vocals).

“Favorite Record” is one of the least polished songs on the album, stripped of most of the production for parts of the song. It’s a light rock song carried with guitar riffs and a bouncing bass line that sounds like it was ripped out of the From Under The Cork Tree sessions and patched up with modern pop tones and rerecorded drums.

The only song that hit me wrong was the title track “American Beauty/ American Psycho”. On an album filled with variant styles, this song is unto itself something completely different. The abrasive beat and leveled bass lines can make the song a hard listen. I hated this song, I really did. After the first few listens though, it won me over and is now something I can’t resist wanting to dance to. Fucking Fall Out Boy…

Another thing that sets this album apart is the use of sampling other songs. For more detail on this, please see Alt Press. It’s an element that I noticed briefly, I don’t feel comfortable talking at length about it simply because I am unfamiliar with most of the sampled music and more than likely missed a majority of it.

Let’s talk Patrick Stump for a moment. He’s been the face of the band for over a decade now with a vocal range unlike anyone else in the scene (now the field). He shines so brightly on AB/AP that I can’t imagine how he’ll ever top this performance. Despite always being one of the best singers I could name, he still manages to utterly impress with how daring he is to explore the full extent of his vocal range. It’s hard for me not to say that he’s the shining star on the album.

The only downside to American Beauty/American Psycho is perhaps the lyricism. While they’re still expertly written and among Pete Wentz’s best, they still cover topics that we already know and expect from FOB. Wentz still pens expansive lines of self grandiosity brimming with sexual undertones, but they’re just done better. It’s not a bad thing, but it almost feels expected and standard fare at this point.

An example would be “The Kids Aren’t Alright” as Stump sings, “I’m not passive, but aggressive / Take note, it’s not impressive / Empty your sadness like you’re dumping your purse on my bedroom floor”. But there are glimpses of old school FOB shining through in the lyrics, as in the same song Stump sings, “I still feel that rush in my veins / It twists my head just a bit too thin / All those people in those old photographs I’ve seen are dead”.

“Novocaine” adds some truly punk inspiration to the pop sensibilities as it fights back against love songs in spectacular fashion with lines like “If you knew, knew what the bluebirds sing at you / You would never sing along / Cast them out ‘cause this is our culture”.

American Beauty/ American Psycho is an unimaginable mixture of what made us love Fall Out Boy years ago blended with electric modern style. In an era where it’s becoming increasingly difficult to be a musician, FOB are storming ahead with such a confidence, it’s hard to ask for a return to their pop punk roots. American Beauty/American Psycho is one of the most punk rock messages in pop; they took the genre by storm, and better than the biggest pop acts. The worst part about this album is knowing how long the wait will be until the next one.

4.5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and refused to listen to FOB until sometime in 2007 because his ex-girlfriend was obsessed with “Dance Dance” and he is petty. He was part of the crowd crushing rush to the front of the stage to see them at Riot Fest 2013. YAY!

Most Anticipated of 2015: #4 Fall Out Boy – American Beauty/American Psycho

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It still feels hard to believe that Fall Out Boy returned from their hiatus in 2013 with such a bang. Save Rock and Roll was a shining example of how to make a comeback and proved forcefully the vitality and importance of this scene. The good news is, the band isn’t finished yet – not by a long shot.

Later this month, Fall Out Boy will release their sixth studio album, American Beauty/American Psycho, an album that already has one platinum single in “Centuries”. That song, a defiant cry for attention, is a pop rock masterpiece. Each subsequent sneak peak into the album’s contents has been increasingly diverse and unique.

It seems that fans of Save Rock and Roll won’t be disappointed in the slightest, and listeners who hope for an even greater departure into the modern day alt rock waters will be quite pleased as well. Those who claim the band has sold out or lost their soul need not apply – American Beauty/American Psycho is Fall Out Boy at their best in 2015, like it or not.

Pete Wentz and Patrick Stump have made clear that the band has no intentions of growing stagnant or staying on one sonic playground for too long. Instead, they hope to explore new and dangerous angles to their genre that haven’t yet been discovered by the band. For a group that’s conquered the music world twice over, who’s to tell them, “no”?

Fall Out Boy has come a long way since the release of pop punk classic Take This To Your Grave back in 2003. This year marks the 10-year anniversary of their breakthrough album From Under The Cork Tree, a modern emo classic. It’s safe to say that no anniversary tours are in the works. Instead, the band is facing toward the future and has no plans of looking back.

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.