They've dropped the exclamation mark (!), they changed costumes, and they've got a new sound that will completely wow you if only you'd wipe off that eyeliner.
Former emo wonderkids Panic At The Disco's sophomore effort and follow up to 2005's "A Fever You Can't Sweat Out" is truly a musical turnaround. Paying homage to The Beatles and The Beach Boys, and dare I whisper it, Jellyfish, "Pretty. Odd." exudes the carnival/circus atmosphere found on classic records such as "Sgt. Pepper's Lonely Hearts Club Band" and "Pet Sounds".
This REALLY is a proper album, and everything flows seamlessly from track 1 to 15. Opening with "We're So Starving", lyricist Ryan Ross rather ironically prepares the listener for the musical cacophony that is about to follow by insisting that "You don't have to worry because we're still the same band". This smoothly leads into the lead single "Nine In The Afternoon", a catchy, upbeat tune with its full array of Beatles tricks down to the ridiculous "Sgt Pepper's" fanfare and "Penny Lane" fire-engine bells. By the time "That Green Gentleman (Things Have Changed)" comes around you should be having so much fun that you might be forgiven for forgetting that this same group of people used to write sins AND tragedies.
The album's turning point probably arrives at "I Have Friends In Holy Spaces" - cleverly produced to achieve the effect of an old record player. Here, the listener is instantly transported to an era where Ol' Blue Eyes ruled the roost. The introduction of the next song promptly arrives in lo-fi, vinyl-style as part of the same track, only to be revealed in its grand, lush opening sequence once "Northern Downpour" properly starts.
Panic At The Disco even have time to throw in a southern country number in the ridiculously, yet aptly named "Folkin' Around" before the album's other stand out track, "She Had The World" hits you with full harpsichord aplomb. Here, strings mingle with intertwined baroque-style accompaniment, and the stoic way the line "Who could love me / I am out of my mind" is delivered seems to give you a little insight of the perhaps startling mindset needed to conjure up the entire record.
"Pretty. Odd" is expertly produced, and Brendon Urie's vocals are of the highest quality with the entire band chipping in with back-up vocals and wonderful harmonies. Besides the obvious Beatles and Beach Boys references, there are familiar traces of Fiona Apple ("She's A Handsome Woman"), Brian Wilson ("When The Day Met The Night" & "The Piano Knows Something I Don't Know"), The Decemberists ("Pas De Cheval") and "Young Modern"-era Silverchair ("Mad As Rabbits"). High praise indeed for a band so young in its life-cycle.
Call it Baroque Pop, call it Circus Rock, call it complete madness in today's emo-dominated airwaves. The album is like Alice In Wonderland meets Monty Python's Flying Circus - a full-out fun excursion. A wonderfully refreshing serving that deserves at least two listens. Now for a "Fall Out Boy" album of the same ilk ;)
Rating: 9/10
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