Fall Out Boy: "Folie à Deux"
David Taintor
Issue date: 2/19/09 Section: Scene
The members of Fall Out Boy are no strangers to the spotlight, and, as they demonstrate on their fifth studio album, "Folie à Deux," they really don't mind. Nowhere on the album is this fact more obvious than when Patrick Stump sings, "I don't care what you say as long as it's about me," in the first single, "I Don't Care."
Even with this dose of blatant narcissism, it's hard to know when, exactly, to take Fall Out Boy seriously. Bassist and lyricist for the band Pete Wentz has always had a tongue-in-cheek quality to his words, but there has always been an impression that he was having too much fun to be taken entirely seriously. It used to be one of the band's most alluring qualities - that, for the most part, they just looked like four, painfully normal guys from Chicago who just kind of happened to befriend Jay-Z and go on to sell millions of records.
But with Wentz's tabloid-magnet of a wife and his being the subject of many PerezHilton.com posts, it's possible the lyrics are becoming more of a reality than ever. After all, how many self-involved lyrics does a band have to sing before they finally start to hold some semblance of truth in them?
In true celebrity status, a collage of Fall Out Boy's pop-punk contemporaries mash up previous FOB singles, from "Dance, Dance" to "Sugar We're Going Down," on one of the best achievements of the record, "What a Catch, Donnie." Even new-wave legend Elvis Costello pitches in an acceptable, but awkward, refrain. Lil' Wayne and even Debbie Harry also lend vocals to the album.
Although it's by no means a distant departure from their last release, "Infinity On High," in typical Fall Out Boy fashion, "Folie à Deux" is brimming with hooks and performed with the band's usual razor-sharp, snarky perfection. Stump's distinct tenor is at its best on "Coffee's for Closers," when he reaches for stratospheric ranges. It's more apparent on this album that with each additional release, Stump's voice has grown increasingly soulful: if emo is truly the music of emotion, what better timbre to sing it with than Rhythm and Blues?
Unfortunately, as is the case with most Fall Out Boy records, "Folie à Deux" starts out impeccably strong and gradually loses steam before finally simmering out. Cuts like "27" and "W.A.M.S." are largely forgettable and might have been better off being cut from the album.
Fall Out Boy is undeniably a master of pop hooks, and the band has proven again that it remains relevant today and even has a few tricks up the sleeve. Pay special attention to the opening track of "Folie à Deux" … the opening lines of the song may not be the first of the album. At least some credit must be given to the band for still making it fun to actually buy a CD and even be surprised in doing so.
- David Taintor
Even with this dose of blatant narcissism, it's hard to know when, exactly, to take Fall Out Boy seriously. Bassist and lyricist for the band Pete Wentz has always had a tongue-in-cheek quality to his words, but there has always been an impression that he was having too much fun to be taken entirely seriously. It used to be one of the band's most alluring qualities - that, for the most part, they just looked like four, painfully normal guys from Chicago who just kind of happened to befriend Jay-Z and go on to sell millions of records.
But with Wentz's tabloid-magnet of a wife and his being the subject of many PerezHilton.com posts, it's possible the lyrics are becoming more of a reality than ever. After all, how many self-involved lyrics does a band have to sing before they finally start to hold some semblance of truth in them?
In true celebrity status, a collage of Fall Out Boy's pop-punk contemporaries mash up previous FOB singles, from "Dance, Dance" to "Sugar We're Going Down," on one of the best achievements of the record, "What a Catch, Donnie." Even new-wave legend Elvis Costello pitches in an acceptable, but awkward, refrain. Lil' Wayne and even Debbie Harry also lend vocals to the album.
Although it's by no means a distant departure from their last release, "Infinity On High," in typical Fall Out Boy fashion, "Folie à Deux" is brimming with hooks and performed with the band's usual razor-sharp, snarky perfection. Stump's distinct tenor is at its best on "Coffee's for Closers," when he reaches for stratospheric ranges. It's more apparent on this album that with each additional release, Stump's voice has grown increasingly soulful: if emo is truly the music of emotion, what better timbre to sing it with than Rhythm and Blues?
Unfortunately, as is the case with most Fall Out Boy records, "Folie à Deux" starts out impeccably strong and gradually loses steam before finally simmering out. Cuts like "27" and "W.A.M.S." are largely forgettable and might have been better off being cut from the album.
Fall Out Boy is undeniably a master of pop hooks, and the band has proven again that it remains relevant today and even has a few tricks up the sleeve. Pay special attention to the opening track of "Folie à Deux" … the opening lines of the song may not be the first of the album. At least some credit must be given to the band for still making it fun to actually buy a CD and even be surprised in doing so.
- David Taintor
Viewing Comments 1 - 3 of 3
confused completely
posted 2/19/09 @ 8:23 AM CST
Hang on 'W.A.M.S.' and '27' should be cut from the album? I completely disagree. I'm a Fall Out Boy fan, love their new and old songs, and I think both songs are a welcome contribution. (Continued…)
Ryan McDonough
posted 2/19/09 @ 4:40 PM CST
Good review! I definitely agree with Elvis Costello sounding awkward. He totally ruins the song for me.
My favorite would have to be "20 dollar nose bleed". (Continued…)
B. Vonsky
posted 2/19/09 @ 9:41 PM CST
I used to love Fall Out Boy, especially Take This To Your Grave, their second studio album and From Under The Cork Tree. After a while, though, Pete started to become an idiot and the band just seemed not to care about making great music anymore, because Take This To Your Grave is one of the best pop punk albums ever made. (Continued…)
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