After ten years as a band, Panic! At The Disco has been reinvented by frontman Brendon Urie for their fifth studio album, Death Of A Bachelor. Leaving his former band members behind, Urie created the album alongside co-songwriter and producer Jake Sinclair (Fall Out Boy, Weezer). Incorporating modern production, classic rock, pop, jazz and hip hop, the record showcases Urie’s many musical preferences and the result of his complete creative freedom.
After the vocally powerful but slightly painful opener, Victorious, comes Don’t Threaten Me With A Good Time. Sampling The B-52’s’ Rock Lobster, the track is an instant radio hit. The obvious familiarity immediately draws you in, but you stay for the hip hop beat between choruses and the line “Champagne, cocaine, gasoline”. Hallelujah, an exercise in rock gospel that packs a positive punch, sits in contrast to the distorted fairy-tale darkness of Emperor’s New Clothes.
The title track is a sweet farewell to Urie’s bachelordom, recorded just before his marriage. Perfect for a wedding dance, the slow introduction highlights Urie’s ability to create an old-school blues sound while celebrating his upcoming “lifetime of laughter.” Taking it up a notch, Impossible Year is a romantic nod to Frank Sinatra in which the American singer/songwriter transforms into a classic jazz vocalist. On the horn and drum driven swing tune, Crazy=Genius, Urie was clearly seeking a live sound.
Enjoyable but uneventful, LA Devotee and Golden Days are fine additions to the track listing but could be easily overlooked in comparison to other tracks. On the other hand, The Good, The Bad And The Dirty and House Of Memories are obvious highpoints. From Urie’s vocal style to their simplistic nature, the instantly catchy tunes are reminiscent of the group’s previous work.
Ultimately, Death Of A Bachelor is a dynamic record and true Panic! fans are sure to fall in love. However, newcomers may be deterred by the rather shapeless song sequence. Either way, it’s just good to hear the epic vocals of Brendon Urie again.
BY PHOEBE ROBERTSON
