Anything but More Paramore

Just as the musically inclined world watched the decline of generic rock and roll, such as Nickelback, Paramore have released yet another step in their epic years at the helm of pariah.

The new self-titled album is no better or worse than their last in a set of uptight, egocentric discography.

If that is not enough, each song sounds like Taylor Swift on steroids…heavy eighties keyboards, electric guitars, and more, atop layers of lyrics of lost love and boyfriend betrayal.

One word might come to mind after hearing just a few moments of the album: pathetic.

Hayley Williams, the only member of the band whose name is known, and coincidentally, the only member who is actually signed to the record label, howls aimlessly about subjects we’ve all heard on the radio over and over.

It’s time for her to be told, “The horse is dead. Please stop beating it.” Her vocal performance sounds undoubtedly contrived, and each song bleeds into the next, as if she is singing the same thing repeatedly.

The instrumentation is anything but stellar, but if you’re into the same four chords being played over and over, this album might be just the thing for you.

There are also quite a few lead guitar parts in the album, not one of them special.

Again, it has all been done before. If you follow this band at all, you know that a few years ago, the brothers quit. Quitting may have been the best decision they ever made.

If they hold tryouts for the positions, and you like to play simple, overdone, and overproduced parts, go for it.

This self-titled, self-righteous album cannot be defended. No strong points exist. Every song is worthy to be played on the radio.

If you’re buying this album, do yourself a favor and buy the extended edition. Nineteen songs for that extra headache!