Feather’s Music: M A N I A

Good after evening and tell me:

Fall Out Boy, who even are you?

A feeling. A reason to feel. A feeling to reason.

My blog posts are free beings, and as such, are subjected to heavy bias, as I choose topics that interest and influence me on a weekly basis. Thus, I cry, internally, as this band of joy and curiosity pique my musical interests once more.

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With Fall Out Boy, no two albums live in the same vibe. But they evolve. If you listen to albums backwards, in order of release you recognise where the later albums began their life. Each album gives birth to the ideas for the album that will follow. I’ve noticed over the years, after listening to the newest album on repeat till it dies, when I start to listen to previous albums I recognise how they led into the new sounds. The reason I mention this is because, as a fan, new albums are scary. You invest all of your enjoyment in these guys, you trust them to bring back the sounds you originally fell in love with. That’s what would naturally follow, right? They created this one thing, so they’ll create more like it, surely?

Well, no.

That’s not how creatives work.

Not a lot of people get this, but artists aren’t creating content FOR anyone. That is, it’s for people to consume and enjoy at their leisure, but true artists aren’t creating it, tailor-made, so that it will be universally liked by all. Essentially, they create what they like. Of course, they want to please their fans, and make music that they think would really go down well, but if they were solely creating it for the purpose of pleasing their hardcore, worn-every-t-shirt, been-there-from-the-start fans, Fall Out Boy would never have evolved past Take This To Your Grave.

All the albums would have sounded the same, and they probably would have disbanded sooner and stayed that way. And I certainly wouldn’t be writing about them today (unpopular opinion, probably: I’m really not a fan of the first album. It lacks the magic of later albums and sounds too much like generic American rock. But I do appreciate it for its having helped to establish Fall Out Boy’s beginnings). I’m pretty sure, sooner or later, someone would say “I’m bored of this, can’t we try something a little new?”, and perhaps the band would agree as a whole that they’re lacking the original spark, or they would all disagree and go their separate ways due to creative differences.

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It’s stagnant. Creativity doesn’t exist in one form for long. It would be redundant. In fact, it just wouldn’t be. And on top of that it would just be plain boring. It can’t survive in a single state of being. It has to grow, and become, and be reborn time and time again. But now I’m attempting philosophy.

My point to all this is that with every new album, I’m scared. This goes for all bands and artists I listen to religiously. I’m always scared that I won’t like it. I’m sure this goes for everyone who loves a band or artist. You’ve dedicated yourself to their sound so much that, should they change, you don’t know what you’ll do. Can you be open minded and see where they’re going with it? Appreciate their efforts in trying something new? And in turn possibly find new sounds you never thought you’d like? Or will you give it one listen, shun the whole thing and cry over the previous albums, claiming the death of their music forever?

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It’s not easy to give in and accept that they’ve decided to try something new. Especially with a band as mysterious as Fall Out Boy who you can never quite imagine what they’re going for next. I see the direction they’ve taken with this new album. Well, the album’s release date isn’t until September but they have a new song out – that I’m going to now be listening to on repeat – which is the tip of the iceberg. If you go back even two albums you can hear the beginnings of this direction they’ve taken.

It’s a lot more electronic than before, which upsets people, because of Fall Out Boy being an alternative rock band, people take immense pleasure in the very earthy feel of real instruments, being performed live, without backing tracks or synthetic sounds. Fall Out Boy, however, have taken a new road that they’re heavily exploring. Combining the heavier mainstream sounds and mixing them with the acoustic setup we’re used to from alt. rock. Which I can’t say is a bad thing.

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When you look at the big picture, how often are you really going to hear them play live? They know that concerts, often as they may try to have them, aren’t how you’re going to absorb their music. You’re going to listen to it at home through your chosen sound system, through crappy £8 earbuds, or through expensive headphones. Whatever format you choose, it’s never going to be that live sound. Which means, to me, that they want to explore other sounds, to intertwine in their usual musical style that you can carry around. Musical stories for your ears to enjoy but in languages they’ve explored, on their travels in the music realm.

I’m rambling now and it probably has everything to do with the fact that I’m listening to the new song right now.
I heard the preview on Instagram, earlier this evening, and was beyond excited for what I was hearing. For me, chord progression is everything. In particular, minor chords. I live for everything minor, which sounds depressing, when you know that minor chords and scales are usually used to depict sadness musically, but just enough major chords to balance it out. It’s just so powerful, and I find myself drooling, and crying and not really knowing what to do with myself, because music is just so lush when it hits you in the right feels. Those musical feels.

The countdown to September’s release begins.

But first, if you don’t mind, I must choose an album bundle to add to my prized collection.

Signed

Fenwick

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