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Fall Out Boy - Folie a Deux
| EW |
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Among the many swindles perpetuated by the music biz — payola, hidden ticket fees, Milli Vanilli — one of the biggest has been selling Fall Out Boy as emo, punk, or any other snarling, eyelinered iteration of angry-boys-with-guitars. In truth, a power-pop heart beats beneath those no-day-job tattoos, and their fourth album, Folie á Deux (which loosely translates as ''a madness shared by two''), is testament to that, even if it sometimes flags. Folie kicks off smartly with the near-perfect radio valentine ''Disloyal Order of Water Buffaloes,'' a towering guitar anthem built on wedding-march organs, thundering drums, and singer Patrick Stump's limber vocals. It's a feat quickly followed by stadium fillers ''America's Suitehearts'' and ''I Don’t Care.''...full text |
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| Spin |
| Purists can stomp their Doc Martens all they want, but Fall Out Boy is the biggest punk-influenced act to emerge this decade. Not only do the Illinois quartet have platinum albums and hit singles, they've got reach. Lyricist/bassist Pete Wentz is a blogs'n'bloids mainstay, as well as the rare star with a successful vanity label (Decaydance), and hip-hop heavies like Timbaland and the Roots have sought out the AOR adenoids of singer-guitarist Patrick Stump. This isn't a band; it's an empire....full text |
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| Entertainment |
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There's something about American pop-punksters Fall Out Boy that everyone wants a piece of. From Kanye West and Lil Wayne, to Debbie Harry and Elvis Costello, the quartet have racked up an impressive calibre of collaborator - but up until now, the reason for their demand has proved baffling. Here was a band almost better known for their bassist's gossip-worthy personal life than their music, a band who were gods to teenagers with a penchant for razor-sharp fringes and checkered clobber. Their fifth studio album is set to change that, however: Folie à Deux sees a new, worldly-wise Fall Out Boy, who now care more about actual songcraft than stuffing their songs full of petulant angst and OTT guitar riffs. Diverse guest performers aside, there's a lot on this album to entice skeptics. The quartet have chiefly toned down the cheesy punk bluster that informed their previous records, in favour of multi-way harmonies and tight, stop-start arrangements. Longtime fans needn't be alarmed, though - there's still plenty of epic, emo-tinged anthems to keep the old guard happy - but the slick, Strict Machine-style beat of I Don't Care, the mix of jerky pop and loose jangle on She's My Winona, and the punchy energy of (Coffee's for Closers) dispense a satisfactory measure of diversity....full text |
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