Too Weird to Live, Too Rare to Die!: Panic! at the Disco returns with triumphant album release — 4.5/5 Stars

October 2, 2013
After its sold-out United Kingdom tour in early 2012, Panic! at the Disco had nearly a year and a half rest before releasing its first single, Miss Jackson (feat. Lolo), from its newest album, Too Weird to Live, Too Rare to Die.
Panic! at the Disco is notable in the music industry for being excessively difficult to label with one genre. From the cabaret-punk A Fever You Can’t Sweat Out and the folksy, Beatles-esque Pretty. Odd. to the alternative rock of Vices & Virtues, Panic’s discography is incredibly diverse in style; yet, with the advent of Too Weird to Live, it still manages to bring something refreshingly original to the field.
This time, Panic has returned with a delightful 10-song album with sharp electro-pop instrumentals and hip-hop influences. Lead singer and primary lyricist Brendon Urie supplements his vocal prowess established thoroughly by the band’s previous albums with noticeable instances of computer software use, yet the harmonies retain utter clarity and do not lapse into the trite, auto-tuned singing found so often in today’s Top 40. Fellow band members, drummer Spencer Smith and bassist Dallon Weekes, rise to the challenge and follow up with weighty, potent instrumentals all around.
Urie spoke about the overall theme of the album in an exclusive MTV interview.
“There are quite a few songs that are very personal, about things I’ve been through with different people in my life. But mostly, it’s about being back in Las Vegas,” he said.
The album opens on an intense note with the catchy first single, Miss Jackson (Feat. Lolo) and only improves with its next track, This Is Gospel, the second single released and one of the strongest songs on the album because of its lyrical solidity and beautiful harmonies. Urie has mentioned in previous interviews that the lyrics in This Is Gospel were inspired by drummer Spencer Smith’s struggles with and recent recovery from substance abuse.
The next song, “Vegas Lights,” is a catchy dance tune that serves as the perfect segue into the Vegas themes and electronic influences that pervade the rest of the album. After “Vegas Lights,” the album takes a sour turn with the weakest song of the album “The Girl You Love.” The drumbeats at the beginning intrigue listeners, but the lyrics are vague, derivative, and far too repetitive throughout; however, just as soon as the album hits its low point, it surges back up and reaches its highest with “Nicotine.”
In this song, Urie’s spellbinding vocals are combined with compelling keyboard instrumentals, an electric guitar riff, and an infectious dance beat, making it the number one standout of the album. After “Nicotine” comes the poppy, electronic “Girls/Girls/Boys,” another strong number. The lyrics speak frankly of bisexuality and sexual identity in support of LGBTQ+ individuals.
“Girls love girls and boys. Never did I think that I would be caught in the way you got me. But girls love girls and boys / And love is not a choice,” Urie sings.
The next two songs, “Casual Affair” and “Far Too Young To Die,” while not being the most notable of the album still remain successes in their own right. “Casual Affair,” while still a dance number, provides a ominous, darker overtone that continues on into the slower “Far Too Young To Die.” The lyrics in “Far Too Young To Die,” are fascinating, but fall slightly flat in the wake of unexciting instrumentals that make it a less memorable part of the album.
The album wraps up with the songs “Collar Full” and “The End Of All Things.” The former has a lovely, bubbly tune, grounding drumbeats, and pensive lyrics, making it another high point of the album.
“Show me your love, your love before the world catches up because there’s always time for second guesses. I don’t wanna know if you’re gonna be the death of me. That’s how I wanna go,” Urie choruses.
Finally, “The End Of All Things” is a beautifully sparse piano ballad that, according to Urie in an interview with PureVolume, was written for his wife. The harmonies are heart-stopping in beauty, and the four simple piano chords in the song manage to speak volumes of love and devotion.
Too Weird to Live, Too Rare to Die! wholly succeeds as an artful masterpiece that is a departure from previous styles, yet a certainly welcome one. The album officially hits stores on Oct. 8.





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