Review Summary: Bliss.
The adventure of Paramore as a band has certainly been exciting. Starting off as just another alt-rock band with a female singer, they’ve become an international powerhouse even after all these years. Although I was a huge fan of their self-titled, many were not. The progression from
Brand New Eyes to
Paramore had eliminated much of their grit and replaced it with pop sensibilities, and songs like ‘Still Into You’ and ‘Fast In My Car’ certainly didn’t help those defending the transition. However, completely disregarding the album would be doing yourself a disservice; much of the band’s best material was contained within that album. ‘Part II’, ‘Be Alone’ and ‘Future’ were all fantastic tracks that pushed the boundaries the band had built around them. And with their new outing,
After Laughter, the re-addition of Zac Farro and a change in direction adds an entirely new sound to the outfit, proving once again that the band knows how to properly transition into something completely unexpected.
The stylistic change present on
After Laughter is incredibly noticeable. The infusion of pop-rock with new wave is certainly going to turn heads, but the performances are so impressive that it doesn’t leave a bad taste in the listener’s mouth. Opener ‘Hard Times’, minus the terrible end to the chorus, is a fantastic upbeat tune that perfectly reflects the album ahead. Many of the guitar lines from Taylor York are incredibly catchy and provide constant groove, particularly on single ‘Told You So’. Although they don’t drive songs as frequently as on previous outings, they’re more focused and reserved, meaning moments in which they do take control, such as in the chorus of ‘Fake Happy’, more meaningful. The return of drummer Zac Farro is certainly nothing to pass over either, as his laid-back style certainly plays to the change in sound. Many of his performances provide the perfect mix of technical playing and knowing the limits of the tracks, allowing for songs such as ‘Grudges’ to be carried by a mix of every instrument. The omnipresent bass lines from producer Justin Meldal-Johnsen throughout the 42-minute runtime also add a fantastic layer to an already choc-full album, and incorporate incredibly well into every track, particularly on ‘Caught in The Middle’. His production is also worth noting, as each instrument is layered equally, resulting in no instrument overtaking another.
Although it’s something many try to ignore, Paramore is nothing without Hayley Williams. Her distinct vocals are what made the band so attractive to listen to, and
After Laughter is no different. Many standout performances are to be had throughout. ‘26’ is a beautiful slower cut, and lends perfectly to the soothing tones of her voice, and ‘Idle Worship’ plays to her strengths of big choruses. Her addition of keys to not only this track but the entire LP is a welcome addition and allows for some added variety, particularly on ‘Pool’. The entire album plays incredibly well both as individual songs and as a cohesive whole, and the more indie-esque approach to their sound plays well into the hands of the band and their performances. The guitars are constantly altered tastefully with effects, particularly on track ‘No Friend’, despite the odd addition of spoken vocals from Aaron Weiss of mewithoutYou that lack the impact much of his material possesses. And although much of the impact of Paramore’s earlier material, such as ‘Let The Flames Begin’ and ‘Part II’, are not present on
After Laughter, the more laid-back approach to song-writing plays a great part in why the album is just so damn fun to listen to. And the Hayley-led closer ‘Tell Me How’ is a fantastic ballad to end the album that shows a reserved but wonderful performance from the entire band.
It's surprising that Paramore, so late into their lifespan as a band, would so drastically change their style. What’s more surprising, however, is how often
After Laughter pulls it off. Every bass line, drum rhythm, everything just
works. The fun that songs like ‘Hard Times’ and ‘Forgiveness’ bring forth, mixed with the more mellow performances of ‘26’ and ‘Tell Me How’ showcase a band that has already outdone contemporaries regarding sound changes. And although this may be the last hurrah for a band that has certainly withstood the test of time, it’s certainly one blissful way to go out.
