Album: Vices & Virtues (Deluxe Version)Artist: Panic! At the Disco
Release: 2011
Tracks: 14
Panic! At the Disco has gone through man changes since they were first signed to Decaydance, including different lineups and styles of music. Brendon Urie and Spencer Smith are the two remaining members from the original group, splitting the responsibilities of different instruments in studio. Urie tackles lead vocals, guitar, bass, keyboard, and piano, while Smith takes over on drums and percussion. Together they created the newest album of Panic! At the Disco, Vices & Virtues, though it was started before the departure of two of their fellow band members. The resulting product, however, seems to have taken a throwback to their earlier music style, pleasing many old and new fans alike.
The first single off of the album, "The Ballad of Mona Lisa", takes center stage with a mysterious beginning that smoothly transfers the spotlight to the drums and bass, with Urie's unique vocal sound floating over the instruments. With an explosive chorus that highlights the guitar part and a bridge that acts as the eye of the storm, it's no wonder this song has received a mostly positive feedback. "Let's Kill Tonight" introduces a different sound from the first track, being more upbeat and using the guitar to form the tone of the song. The drums keep time while adding a sound that completes the track in a way that no other instrument could. With and intro that leaves you guessing at what the song will sound like, "Hurricane" uses guitar accents to bring out the true feeling of the song. The chorus hooks you in and keeps your attention for the rest of the song, and the bridge follows up the second chorus in just the right way with the perfect tone. "Memories" has you diving straight into a powerful intro followed up by quieter first verse, where the vocals weave their way through the different instrument parts. The chorus takes a step up from the verse to provide a slight variation to complement the rest of the song, which ends with just the right amount of flair. Strings and synthesizers take the front role in "Trade Mistakes" until the chorus, where the other instruments step up to the plate to boost the vocals and make the sound memorable. The bridge sees the vocal part take off in its own direction, backed by the other instruments and really making an impact for the first time in the song. "Ready to Go (Get Me Out of My Mind)" is a fresh sound the relies on the vocals to to carry the tone of the song, with minimal exposure on the different instruments, apart from the drums. The bridge takes a step away from the vocals for a bit, turning to synthesizer sounds, then returns to the signature vocals of the song to carry it to the end. A nice surprise of the guitar being heavily featured in "Always" recaptures your attention with a softer song that couples a flowing guitar with a vocal part that works its way along the guitar part. This track takes a break from the style of the rest of the album, yet still manages to keep your attention for the entire duration. "The Calendar" slowly brings us back to their normal style of music, with the verses setting up each chorus perfectly. The bridge of the song takes the guitar and drums to carry us on to the final chorus through the end of the song, which has the feel of an instrumental demo. The intro of the next track, "Sarah Smiles", has you thinking of a ballad from folk times until you reach the end of the first chorus. From the second verse on, the guitar and drums lay the path for the vocals to follow, building up for the second chorus and bridge. "Nearly Witches (Ever Since We Met...)" has an almost eerie opening vocal part that has the characteristics of a chorus-style of females singing, soon joined by a driving guitar part. The vocals of the song have a unique sound that catches your attention from the end of the first verse, with a slower chorus that resembles a power-ballad, setting it apart from the rest of the song. The first of three bonus tracks, "Stall Me (Bonus Track)" keeps time with a rolling guitar part and a steady beat from the drums during the verse, carrying on into the chorus where the vocals steal your attention. The bridge seems to break away from the rest of the song in a way that compliments it and keeps our minds fresh to finish the track. "Oh Glory (Demo) [Bonus Track]" has a beat that almost seems to belong in their second album more than this one, though it appeals in a way that differs from the rest of the songs on this album, especially with a bridge that makes its own mark in the song. The vocals of this track carry this song through its duration, with the drums and guitars highlighting certain portions in a way that makes them more memorable than they would have been on their own. The final song of the album, "Bittersweet (Bonus Track)" uses an upbeat drum and guitar combination to carry the vocals through the song, with a unique sound accented by harmonies and vocal beats. The chorus brings a new beat and vocal sound to the track, with the bridge providing a clever counterpart to the verse.
Vices & Virtues as a whole has received mixed reviews from fans and critics alike, with some people enjoying the throwback to the old Panic! At the Disco style, and others preferring the new style that had been introduced in the album that preceded this one. Depending on which group you belong to, you will either love this album or wish that you never even heard of it. The way the songs are constructed leave little to be desired, each track fitting in with the others in its own way like a piece of colorful mosaic art. So will you view this album as vice in the musical portfolio of Panic! At the Disco, or a virtue?
