paramore - after laughter - recording and anticipation

I suspect Hayley has listened to ArtAngels a lot.

Love how "Forgiveness" never specified whether Hayley thinks the addressee actually deserves forgiveness or not - maybe recognising that the answer to that question may not be particularly relevant to their problem.

And I love the line "it could take me all your life to learn to love".

xp: yeah, there are definitely a few moments.

there are a lot of great, quotable lines on this, moreso than on the s/t

Agreed. Williams is in top form, and York and Farro match her.

btwn this and Kendrick I gather you just hate slow songs Alfred

I'm impressed that Williams and York are the only credited writers. Not that I thought they were at all incapable, just that they didn't go the lazy (imo) Taylor Swift route and hire a ringer to make their transformation, just (like Haim) a really sympathetic and intuitive producer.

I don't see Swift's move as lazy: she wanted a sound and sought the writer/producers most capable of it.

btwn this and Kendrick I gather you just hate slow songs Alfred

― a serious and fascinating fartist (Simon H.)

ça dépend! I prefer the slowness on the eponymous album.

i think "tell me how" is the best closer they've ever done

which has reminded me that all of their closers are baseline incredible

I agree w/ that, and also both ballads on this are way preferable to idk "Hate to See Your Heart Break"

Haha I was going to say "Tell Me How" is amazing but difficult for me to decide whether it's their best closer when "All I Wanted" exists ("and when the world treats you way too fairly..."), and I adore "Future" as well.

Love that "26" is so obviously a sequel to "Misguided Ghosts".

The York-Farro interplay in "Tell Me How" is on point.

"Future" is a pure novelty to me tbh, like it's neat that they did a post-rock song but I never actually get through it

xpost I only think the Taylor Swift move was lazy because she was an established successful crossover songwriter herself (mediocre or no), but when she decided to go big she picked a team that would churn out hits whether she was involved or not. Like, they did not need her, they've written dozens of huge hits with little or no input from the artist. This Paramore album, though, I find it sort of inspiring (or something less strong) that the band itself (like the 1975, to an extent) proves so capable of big pop songs without relying on one of the usual suspects.

I'm not saying Swift's lazy move was wrong, as such. But I think music like Paramore and Haim has so much more personality - Aint It Fun, still, and Hard Times, they sound so refreshing - and I would have been interested in hearing Swift, had she not hired out for hits, try to do the same all by herself.

I don't know, it's just personal preference, but I find Max Martin so big, boxy and heavy handed - joyless, really - but stuff like this, Haim and the 1975 is so wonderfully light on its feet.

Second that I think her singing is great on this. Can't explain why, but I keep thinking of someone like David Byrne singing "Forgiveness" or "Hard Times."

Yeah. Comparing this to Hella Good, which this reminds me of DON'T AT ME - just underlines what an amazing singer she is

Hayley's lyrics (and performance of them) are so declaratory that she's risk slipping into hectoring if her vocals weren't so endlessly nuanced and expressive.

The way the fluttering percussion and bass on "Forgiveness" slip into that steady pulse for the chorus is A+ devastating (-ly simple) pop craftsmanship.

yep

I agree w/ that, and also both ballads on this are way preferable to idk "Hate to See Your Heart Break"

― a serious and fascinating fartist (Simon H.), Sunday, May 14, 2017 2:45 PM (five hours ago) Bookmark Flag Post Permalink

Man idk, both these songs are great, but Hate to See Your Heart Break is sublime.

The way the fluttering percussion and bass on "Forgiveness" slip into that steady pulse for the chorus is A+ devastating (-ly simple) pop craftsmanship.

― Tim F, Sunday, May 14, 2017 6:49 PM (two hours ago) Bookmark

i believe an acoustic guitar comes in as well, and then i think a slight twang emerges in hayley's voice, and in my head it momentarily shapeshifts into an especially lush kacey musgraves song

i like this, pretty cool. maybe a bit heavy on the fleetwood mac pastiche for me at times

"Grudges" turns out to secretly be a real grower.

I think it seems weak at first because Hayley sits further back in the mix and sounds relatively anonymous-shiny (for her), but after xxxx number of listens I've decided this is an aesthetic decision intended to create this charming Haim meets School of Seven Bells effect.

At my Best Buy on Saturday to buy some cables, I was told the Paramore album was sold out. Meanwhile I saw displays chock full of the Harry Styles album. It would be nice to think Paramore had a chance in hell at #1.

I'm sure the store ordered a bigger truckload of Harry Styles albums to stock the shelves with though.

i believe an acoustic guitar comes in as well, and then i think a slight twang emerges in hayley's voice, and in my head it momentarily shapeshifts into an especially lush kacey musgraves song

― J0rdan S., Monday, May 15, 2017 1:43 AM (fifteen hours ago) Bookmark Flag Post Permalink

Oh good, I thought I was being crazy when I heard some modern country moves on the choruses of some of these songs. I guess, some of the broad strokes of the chord changes in the choruses that read Modern Country to me could just be 80s pop rock moves, but I am not sure if there is much difference between the distinction.

"Forgiveness" on repeat.

This is a great record about depression

choruses that read Modern Country to me could just be 80s pop rock moves, but I am not sure if there is much difference between the distinction.

this is like the first time i heard fearless and i thought half the choruses were rebranded mainstream emo

choruses that read Modern Country to me could just be 80s pop rock moves, but I am not sure if there is much difference between the distinction.

this is like the first time i heard fearless and thought half of the choruses on that record were rebranded mainstream emo

lmao i thought that post didn't go through, go me

one more with Hayley harmonies!

this is like the first time i heard fearless and thought half of the choruses on that record were rebranded mainstream emo

I guess i've gone full circle. Fearless is probably a large touchstone for what I might consider modern country, even though it was almost a decade ago.

tee-THAH!

https://www.youtube.com/watch?v=7piSRAsAyQE

some good taylor content there cc alfred

Huh. Lots of prerecorded stuff there, especially with six people on stage. I was curious how they would pull it off.

Went out and bought the album day of release at Target, which Hayley loves, so that was appropriate.

I also got the DIY magazine issue with them on the cover in the mail. It’s tiny.

THESE
NIGHTS

Yah?

Love how the plot of "Rose-Colored Boy" is basically a direct inverse of the archetypal manic pixie dream girl narrative.

you are the waaaave

I still love this

Would you say you’re still into it???

I need to listen to this. It's not the sort of thing I want to listen to in the background while I'm online (since the English lyrics will be too distracting). I think the best thing for me to do is buy a copy and listen in the car.

After all this time?

I think I love every song on this album now.

https://pbs.twimg.com/media/C-D6zD5XkAQNTmp.jpg

I'm still into him!

I should be over all the butterflies

Some things just, some things just make sense.