Eagle County CD reviews: Fall Out Boy | VailDaily.com

Eagle County CD reviews: Fall Out Boy

Charlie Owencowen@vaildaily.comVail CO, Colorado
Special to the Daily

Folie a Deux Island RecordsFall Out Boy isnt one to thwart its fans or the fame machine. The bands fifth album, Folie a Deux, is a pleasure bot of right-now pop, adroitly programmed with crunchy 1980s melodies, emos dark prowess and symphonies a la Sgt. Peppers. A little something for everyone, all of it played to the max.Folie a Deux imagines itself in the stadium. (Coffees for Closers) marches in, tattered but resplendent, and closes with a playful bounty of horns and a suite of strings. Disloyal Order of Water Buffaloes soars and struts with a newfound love for vocal harmonies and club bathroom graffiti such as detox just to retox.But for all the steps forward, Folie a Deux also seems to contain a microchip for its own destruction. Friends drop in, Debbie Harry, Elvis Costello, Lil Wayne , but they barely surface above the albums aesthetic gluttony. Pete Wentzs lyrics flit from celebrity snark throw your cameras in the air and wave them like you just dont care to inane lines possibly cribbed from a soap opera script: Does your husband know how the sunshine gleams from your wedding band? Some songs, like Tiffany Blews, are meant to be vampy but suffocate instead. There are moments when the oxygen floods in like the Pharrell-assisted w.a.m.s. which unexpectedly ends in stripped-down a-cappella blues but they are all too rare.Its not that FOB cant have grandiosity, but every stadium needs open air.Margaret Wappler, L.A. Times-Washington Post

When the World Comes Down InterscopeThe best thing about the All-American Rejects is how unambitious the pop-emo quartet is. The Rejects supremely bratty yet relentlessly hooky singles each have seemed destined to score teenage rom-com dance-party sequences for time immemorial, and it hasnt hurt that their emo-Adonis front man Tyson Ritter has cheekbones that could slice bread.The bands new record, When the World Comes Down, broadens the palette a bit, leavening typically cocky choruses like I want to touch you / you want to touch me too with synthesizer pricks and jaunty string arrangements befitting Ritters avowed love of musicals. Ponderous and overproduced moments like Damn Girl and Back to Me suggest soaring earnestness and slower tempos are a drag on the bands sense of spunk. But the kick-start rockers like Fallin Apart and the gleeful kiss-off Gives You Hell benefit from the new breathing room.Modern emo bands tend to treat breakups with a severity worthy of Wagner. Ritters penchant for hummable nastiness is a vast improvement, and lines like Truth be told I miss you / truth be told Im lying are a better representation of actual teenagedom: snide, vindictive and rarely unentertaining.The Rejects are best at small ideas with a long shelf life. World forgets that at points, but pretty people always get away with everything, dont they?August Brown, L.A. Times-Washington Post

Intuition J RecordsJamie Foxx would be justified in continuing his efforts as a singer if for no other reason than as fodder for more videos as charming and lightly humorous as the one for Just Like Me, the first single from his sophomore album.The track itself is one of five on the album co-written and produced by Terius The-Dream Nash and Christopher Tricky Stewart, the team behind, among their other recent successes, Rihannas Umbrella and Beyonces Single Ladies (Put a Ring on It). Its rooted in a nicely syncopated bass-and-drum rhythm track dusted with celestial keyboards and percolating acoustic guitar accents, Foxx and guest rapper T.I. trading lines that detail his worries about the girl whos doing him wrong.Intuition presents a sampler of contemporary R&B styles from producers including Timbaland, Just Blaze, Butter Beats and Calvo Da Gr8, giving the collection a disjointed air. Foxxs identity as a musician isnt any clearer than it was on his double platinum debut album, Unpredictable.Foxx briefly resurrects his ability to channel Ray Charles in I Dont Need It, while Digital Girl, another from The-Dream and Tricky, takes him into the world of dreamy dance pop and gets an assist from Kanye West. Blame It (featuring T-Pain) goes more deeply into techno with heavily processed and staccato vocal edits over a metal-shop clanking beat track from producer Christopher Deep Henderson.You would have a hard time telling whos at the center of most of these state-of-the-art but undistinctive concoctions. Unless, of course, Foxx turns them into videos.Randy Lewis, L.A. Times-Washington Post

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