The Singles Jukebox

I would double check which of the Thundercats her hair reminds me of, but have you seen the time?…

[Myspace]
[6.25]

Matt Cibula: OMG so spunky! Loved these little emo Christians ever since Hayley killed it on Say Anything’s “The Church Channel.” This song is ex-pecially awesome because of the Latin touches in the chorus! And the energy and the chanting! I am dancing even now!
[7]

Sophie Green: It’s nothing particularly new, but it’s everything you want from Paramore: pop punk which is jumping up to look you in the eye – and demanding you confront that time when you felt just as second best. Hayley Williams is, of course, on hand to alternately shout/bittersweetly sing her way through your troubles together, and whilst you don’t ever reach her high notes, you can always chant the angry chorus in unison.
[8]

Michaelangelo Matos: Hayley Williams isn’t going to become my personal hero anytime soon, but it’s pretty evident why she might be someone else’s: she does smart, snarling, suburban-teenager-punk really, really well. I’d rather get cut off on the mall escalator by her than by Avril for goddamn sure.
[7]

Jordan Sargent: Brawny, propulsive, confident. Surprising for a band that was seemingly on the verge of breaking up.
[8]

Al Shipley: Perhaps having a big between-album crossover hit in “Decode” took the pressure off to swing for the fences with a lead single and just rock hard, because this is by far the least catchy song they’ve ever sent to radio. Not bad at all, and would’ve made a fine deep cut on the last record, but here’s hoping they’ve got bigger hooks up their sleeves.
[6]

Chuck Eddy: I’ve only paid casual attention to them, so maybe it’s not a new development, but this suggests they’re bypassing prettiness and hooks in hopes of sounding meaner and louder and not so cute. And rocking less hard in the process.
[3]

Iain Mew: I don’t think there’s much of a song behind the bluster here. Difficult to tell, though, as MGMT-rivalling levels of overcompression render it unlistenable regardless.
[1]

Andrew Unterberger: I much prefer vulnerable, heartfelt Paramore to angry, self-righteous Paramore, but I guess I had to acclimate to “Misery Business” last time around before they treated me with “CrushCrushCrush” and “That’s What You Get,” too. In the meantime, this still isn’t the worst place to be — crisp and energetic and not intelligence-insulting. Vid’s probably gonna be terrible, though.
[6]

Martin Skidmore: I like the choppy pop-punk guitar, though the drummer seems sometimes to be playing a different song, and I like singer Hayley Williams’ sharp and strong vocal. The song isn’t quite up to Avril’s best, and the singing lacks Kelly’s range, but I like this well enough – a new drummer and less vaguely whiny lyrics, and I could become a real fan.
[7]

John Seroff: What did Ian say about “not getting to choose our favorites”? What a shock to discover this jangled give-and-take of Rock and Roll with capital R’s; this vicious, self-righteous, high-gloss angst rendered in growling Guitar Hero-friendly Sturm und Drang! The song is a growling Jaguar of flat immediacy; every riff and cymbal splash smashes on the ear and drops away instantly. Hayley Williams’ voice gouges “Ignorance” like a key, grinding up sparks with hard, angry Southern consonants; “Yer GAHvuhl? Yerrr juhhRRRY?” has been haunting me for a minute. It’s an oddly authentic take on junior high breakup rage, right down to the sneeringly specific condemnatory dismissal of an it’s-not-you-it’s-me ex; “you treat me just like/ another stranger/ well, it’s nice/ to meet you sir/ I guess I’ll go/ I’ll just be on my way now” captures that pain in amber. Two weeks of rigorous replay have me convinced this isn’t just a passing infatuation; “Ignorance” is on my short list for pop-punk junk food delicacy of the year.
[9]

Anthony Miccio: “A Mars Volta For Teenage Girls” ignores the fact that dudes are still playing all the instruments, so maybe they’re just the post-metal Scandal.
[5]

David Raposa: My skepticism towards other teenybopper Jukebox heroes that walk Paramore’s way might be a simple matter of packaging & presentation — not being on Fueled By Ramen is really hurting your cred, kids! Then again, it also might be that I haven’t heard any young ladies (let alone any boyz) break a chorus off in someone’s ass the way Hayley Williams does here. Righteous indignance is my new best friend, and it’s fucking awesome.
[8]