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Las Vegas' band Panic At The Disco debuted with the million-seller
A Fever You Can't Sweat Out (2005) that recycled post-emo punk-pop
for yet another generation.
Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off
was the anthem of sorts.
After a long hiatus, they resurfaced as a completely different band on
Pretty Odd (2008), playing the
lush and sleek techno-pop orchestrations of the 1970s and retarded Beatles-ian
refrains.
After the line-up was reshuffled, the influence of the synth-pop revival
was felt on Vices & Virtues (2011), and the saving grace of rocking
moments like Ballad of Mona Lisa was not enough to rescue a project
that increasingly veered towards the derivative.
Singer and multi-instrumentalist Brendon Urie towered over the proceedings
to the point that this was becoming his solo project.
Continuing their artistic (?) decline,
Panic at the Disco released one of the worst albums of the year,
Too Weird To Live Too Rare To Die (2013).
not only bombastic for the sake of pomp but also utterly predictable to the
last note, as if a computer had been programmed to produce your average pop
hit from a database of hits. Another way to see the album is as a speculation
around the single Miss Jackson, probably the only song that deserved
to be recorded.
Panic at the Disco
was de facto a Brendon Urie solo project on
the mostly obnoxious
Death of a Bachelor (2016), that at best echoes Broadway showtunes (the title-track), and
Pray for the Wicked (2018), that contains the hit
High Hopes.
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