Panic At The Disco – New Perspective
There used to be four, but there aren’t anymore…
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[4.10]
Chuck Eddy: This song is skillfully performed. It has hooks that stick in one’s craw on very first hearing, and like “I Write Sins Not Tragedies” a few years ago, it leaves little doubt why they’re as sort-of-big as they are. Doesn’t mean I have to like it.
[5]
Dave Moore: I kinda dug Panic!’s straight-up Beatle fetishist power-pop diversion on Pretty. Odd., but now they’ve found a middle ground that keeps the trad pop-rock arrangements and harmonies and woo-woo-woo’s and finds a way to shoehorn in the slimy frat misogyny without even mustering the invention the Ying Yang Twins might put into it. “Can we fast-forward to ‘go down on me'”? — I mean, they’re not even trying.
[4]
Iain Mew: The lyrics are not sexy, not funny, just smugly offensive and don’t even fit together properly or make sense on a basic level. Par for the course, a wag might say, but no, they’re much worse. Besides, never before have any lyrical issues been so massively exacerbated by their musical choices; compared to this, even the Beatles-via-Oasis excess of “Nine in the Afternoon” was excitingly straight to the point. They’ve now polished and buffed so much that they’re left with only vague noxious wafts of what might once have been a tune, too lazy to compete for attention.
[0]
Hillary Brown: If this could just come in a little closer to three minutes (than four), it might snag a 7. Nice swoopy up-and-down in the vocal melody and pretty, big Butch Walker guitars, plus, um, glockenspiel makes up for lyrics that seem to be nonsense posing as cleverness.
[6]
Al Shipley: This is perhaps the closest thing to a perfectly nice modern rock song this band’s ever released, but the singer’s horrible quavering vibrato and fussy enunciation still place it on the wrong side of tolerable.
[5]
Martin Skidmore: Sounds sort of like J. Mascis’s little brother, with the plaintive regret replaced by whining.
[1]
Jordan Sargent: I didn’t understand the purpose of Panic at the Disco back when they were pretending to be drama kids biting Fall Out Boy, and I still don’t understand them now that they have “matured” into a slightly worse Phantom Planet. Funny too that they dropped the whole goth thing right before “Twilight” hit.
[6]
Alfred Soto: These guys have studied their blueprint, and a large cult comprised of slightly adventurous emo kids ready to buy their product. I want to join them.
[6]
Ian Mathers: In one sense, Panic at the Disco are in an enviable position. Having attained a measure of fame and fortune with their juvenilia, they get to try and grow up/”develop as artists” with a disproportionate amount of support and label muscle behind them. It’s no surprise that the result of all this is a very professional sounding track that fails to distinguish itself in any sense.
[3]
Michaelangelo Matos: They sound like nice guys who are far too well-adjusted to be interesting: there’s no tension in this song at all, just a bunch of new wave gimmicks that add up to a hit readymade for downloading and adding to the iPod, before being forgotten and deleted.
[5]