MUSIC: Paramore

paramoreTHE 5TH APRIL 2013 saw the release of Paramore’s fourth and now number-one selling self-titled album, Paramore. After having the record sat in my iTunes library for nigh on three weeks I’ve come to the harrowing realisation that I do not like this album in the slightest. Paramore found me fresh from the excitement of listening time and time again to Bastille’s debut album, Bad Blood, and looking forward to more of what was featured on the band previous release, The Singles Club EP. This record has received praise from many other reviewers for how musically diverse it is as an album; this to me however is a point of ridicule. It feels watered down in an effort to make it more appealing to the general masses, however, it is firmly my belief that music, like comedy, should not be broad – it should be tailored to its audience.

The Singles Club EP marked a huge turning point for the band as it was their first release since the departure of the Farro brothers. It showed that as a three piece they were still able to produce not just hard-hitting, pulse-racing, modern rock, but also acoustic guitar riffs able to ease even the foulest of moods. At 17 tracks and just over an hour long, the album is the largest the band has produced to date. The problem with this is that so many of the tracks feel like filler that no one had the sense to cut. Of the entire track list, I find myself enjoying only three – two of which are the singles from the album ‘Now’ and ‘Still Into You’ the third being ‘Proof’,  a track which succeeds in taking me back to the good old days before ukulele based interludes were deemed necessary for an alternative rock album. For me releasing a self-titled album is a statement along the lines of ‘this is our band, and this album more than anything embodies our sound’. I hope this definitely is not the case here, having been a Paramore fan since my early teens.For me their signature sound has never involved the appearance of a gospel choir making an appearance for backing vocals, a sound which I thought had long died out, it’s Hayley Williams producing notes unimaginable for someone of her size over fast-paced, exciting guitar and thrashing drums. The album’s success should in no way be attributed to the music contained within, but to the label, Fueled by Ramen, and their marketing team. I’ve no doubt that this is certainly just the beginning of major main stream success for Paramore – I just hope that they don’t forget those of us who still enjoy the type of music that built their fan base in the first place.