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Panic! At the Disco crushes expectations with Pray for the Wicked: Track-by-track review

Panic! At the Disco crushes expectations with Pray for the Wicked: Track-by-track review

SAN ANTONIO, TX – APRIL 01: Brendon Urie of Panic! at the Disco performs during the Capital One JamFest onstage at the NCAA March Madness Music Festival at Hemisfair on April 1, 2018 in San Antonio, Texas. (Photo by Michael Loccisano/Getty Images for Turner)

Panic at the Disco’s sixth studio album Pray for the Wicked is finally here! We broke down the new album track-by-track – and it’s fantastic from start to finish.

In the best way possible, Panic at the Disco’s sixth studio album, Pray for the Wicked, crushes expectations from the opening song.

The change in musical styles between Too Weird to Live, Too Rare to Die (2013) and Death of a Bachelor (2016) was drastic. Something about the former felt very 1970s and 1980s, and there were clear throwbacks to the 1940s and 1950s in the latter.

Pray for the Wicked takes both of these styles, combines them with heavy pop and rock, among other things, and decides to just have fun with Brendon Urie’s incredible vocals.

Fun seems like a good if not cliché word to describe Pray for the Wicked after the decisively chill Too Weird to Live, Too Rare to Die and the back and forth between smooth and chaotic in Death of a Bachelor.

Panic! At the Disco might “just be Brendon Urie” and we’re for sure never getting back to the old days of albums like Pretty Odd (2008) and A Fever You Can’t Sweat Out (2005), but each new album from P!ATD is something new and something good — which is not something you can say about many artists.

Here is a track-by-track breakdown of this fantastic new album:

“(F**k a) Silver Lining”

Starting out slow and steady with smooth overtones — no doubt a throwback to the Frank Sinatra-esque style of several songs on Death of a Bachelor – “(F**k a) Silver Lining” opens the album by announcing “to the old, and to the new, we dedicate this song to you.”

From that moment onward, the song instantly changes tones, switching from the smooth opening into a mix of chaotic pop and fun vocals. When it was first released prior to the full album, it was not my favorite song, but this song quickly becomes a favorite after a few listens.

Best line: “We’ve been falling, falling, it’s like we fell to the top”

Best moment: The unnecessary but so enjoyable sound of Urie hitting high notes from around 1:20 to a sudden drop back into a new verse at 1:25.

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