{"id":460,"date":"2023-04-03T21:03:22","date_gmt":"2023-04-03T21:03:22","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2023-4-3-so-much-for-stardust-is-good-im-just-a-harsh-critic\/"},"modified":"2023-04-03T21:03:22","modified_gmt":"2023-04-03T21:03:22","slug":"2023-4-3-so-much-for-stardust-is-good-im-just-a-harsh-critic","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2023-4-3-so-much-for-stardust-is-good-im-just-a-harsh-critic\/","title":{"rendered":"So Much (For) Stardust Is Good, I’m Just A Harsh Critic"},"content":{"rendered":"
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By Izzy Desmarais<\/h1>\n

Fall Out Boy has a tendency to go radio silent whenever they sense a shift in both their audience and internal dynamic. In 2009, following the release of their fourth studio album Folie \u00e0 Deux<\/em>, the band decided it was time to decompress. Folie \u00e0 Deux <\/em>was their most experimental to date \u2014 commonly referred to as a power pop album, its tracklist is infused with elements of 80s rock, jazz, and disco to create an entirely new sound for the band. Their lyricism turned from self-referential to universal with themes of politics, morality, love, and consumerism at the center of each song. Despite earning great acclaim from critics, it was initially considered a huge miss with fans. So much so, the band was booed when they played Folie \u00e0 Deux <\/em>on the album\u2019s tour. This disillusionment prompted a five year hiatus, before their return in 2013 with Save Rock and Roll<\/em>. <\/p>\n

A similar situation happened after their polarizing seventh studio album MANIA<\/em> (2018), which saw a complete departure from their typical rock sound and leaned heavily into the electropop genre. Although the band wasn\u2019t completely silent, as they embarked on the Hella Mega Tour with Weezer and Green Day, there had been little to no discussion of new music for the past five years. That is, until their lead single \u201cLove From The Other Side\u201d was released on January 18th of this year along with the announcement of their eighth studio album, So Much (For) Stardust<\/em>, out on March 24th. <\/p>\n

The single felt familiar \u2014 with guitar, bass, and drums back at the forefront, it seemed Fall Out Boy was returning to their pop-punk roots. Fans were starting to suspect that So Much (For) Stardust <\/em>would be From Under The Cork Tree <\/em>2.0. <\/p>\n

Wrong. <\/p>\n

Lead singer and rhythm guitarist Patrick Stump was sure to stamp out any hopes for a 2005 throwback with this new record. In a January interview with NME<\/span><\/a>, Stump explains that he sees So Much (For) Stardust<\/em> as an exploration of a post-Folie \u00e0 Deux<\/em> sound without the five year hiatus \u2014 \u201can experiment in seeing what [they] would have done.\u201d As a huge fan of pre-hiatus Fall Out Boy, I really appreciate Stump introducing us to this era with the caveat that it will not be a complete return to form. Without it, I probably would have been very disappointed with this release. <\/p>\n

Fall Out Boy is a deeply personal subject for me. Their music accompanied me through the nightmare that is middle school, an emotionally catastrophic high school breakup, and my transition from adolescence to young adulthood. In between these lowest points, Fall Out Boy was still there to round out the edges of my life\u2019s soundtrack. What I\u2019m trying to say here is that it\u2019s nearly impossible for me to remain completely objective; a fair assumption would be that my love for this band is so blinding, I\u2019ll write a stellar review for anything they release. This is not the case. If anything, my love for Fall Out Boy makes me that much more critical of them. <\/p>\n

Before I dive into any complaints I have about So Much (For) Stardust<\/em>, I do want to emphasize that this album sounds<\/em> incredible. The genre-defying days of Infinity On High<\/em> and Folie \u00e0 Deux <\/em>are felt in tracks like the funky, R&B influenced \u201cHold Me Like A Grudge\u201d and the orchestrally earth-shattering \u201cI Am My Own Muse.\u201d These diverging elements seamlessly blend together with the traditional heavy guitars and their newer, pop-inspired sound. If you are someone who focuses solely on production and musical composition, I don\u2019t think this album will disappoint. However, if you\u2019re more of a lyrics person like I am, some songs definitely fall flat. <\/p>\n

High points on the record include \u201cLove From The Other Side,\u201d \u201cHold Me Like A Grudge,\u201d \u201cFake Out,\u201d \u201cI Am My Own Muse,\u201d and \u201cSo Much (For) Stardust.\u201d Track four, \u201cFake Out,\u201d is my personal favorite \u2014 it\u2019s upbeat, with easy guitar riffs and drums that make you want to dance in your seat. Its chorus is where I see the maturity other music bloggers and critics are citing when they write about the album. \u201cLove is in the air, I just gotta figure out a window to break out \/ Buried alive inside my dreams but it was all a fake-out\u201d illustrates a fixation on old teenage daydreams and bitter attempts to remain true to who your 15-year-old self wanted you to be. This, paired with a sound perfect for a coming of age film soundtrack, gives me something to sink my teeth into \u2014 which is exactly what I\u2019m looking for in a new favorite song. <\/p>\n

I also want to note the impeccable parallels between album opener and closer, \u201cLove From The Other Side\u201d and \u201cSo Much (For) Stardust,\u201d respectively. When listening to these tracks back to back, I can easily visualize this sprawling, ill-fated, apocalyptic love story that is destined for the silver screen. Their lyrics speak to each other, with the repetition of \u201cYou were the sunshine of my lifetime \/ What would you train the pain for?\u201d They\u2019re altered ever so slightly in the final track: \u201cIn another life, you were the sunshine of my lifetime \/ What would you trade the pain for? I\u2019m not sure,\u201d which feels like a slap in the face. It reads to me as: \u201cwe\u2019ve just been through hell and back for one another, but now you can\u2019t even look me in the eye.\u201d It\u2019s simultaneously heartbreaking and invigorating, thanks to the smart lyricism and powerful production value. I know they\u2019ll play \u201cLove From The Other Side\u201d on tour this summer, but I think \u201cSo Much (For) Stardust\u201d should be on the setlist too. <\/p>\n

The same could not be said for \u201cHeartbreak Feels So Good,\u201d \u201cSo Good Right Now,\u201d \u201cFlu Game,\u201d \u201cBaby Annihilation,\u201d \u201cThe Kintsugi Kid (Ten Years),\u201d and \u201cWhat A Time To Be Alive.\u201d Again, all of these songs sound<\/em> great. As a matter of fact, I love the early 2000s pop-punk energy of \u201cFlu Game,\u201d the return of Wentz\u2019s spoken word poetry on \u201cBaby Annihilation,\u201d and the funky disco-esque sound in \u201cWhat A Time To Be Alive.\u201d It\u2019s their lackluster lyricism and reliance on non-lexical vocables (e.g. \u201cna-na-na\u201d or \u201coh-oh-oh\u201d) that makes me shrug my shoulders and go \u201ceh.\u201d <\/p>\n

I take particular issue with \u201cWhat A Time To Be Alive\u201d because of its direct references to the COVID-19 pandemic. Lines like \u201cEverything is lit except my serotonin\u201d and \u201cI got the quarantine blues\u201d make me physically cringe. It feels way too on the nose. There are much more interesting and clever ways to discuss the collective feelings experienced during those early lockdown days. <\/p>\n

Lastly, we have my bottom two tracks: \u201cHeaven, Iowa\u201d and \u201cThe Pink Seashell (feat. Ethan Hawke).\u201d Based on other reviews I\u2019ve read over the past week, \u201cHeaven, Iowa\u201d seems to be a favorite among listeners. I, however, think it\u2019s insufferable. I never thought I would ever say this, but Stump\u2019s vocals in the chorus are absolutely grating. It ruins the entire song for me, which is a shame because the four minute track builds to this robust, classically rock and roll conclusion that sounds fantastic. <\/p>\n

Then we have \u201cThe Pink Seashell,\u201d which is just a recording of Ethan Hawke\u2019s monologue from Reality Bites<\/em> (1994) over moody synth instrumentals. In a 2020 interview with NME<\/span><\/a>, Wentz discussed the possibility of a solo album and cited Hawke\u2019s monologue as inspiration. In the film, Hawke\u2019s character is given a pink seashell from his father. As the character reflects on this gift within the context of his father\u2019s recent cancer diagnosis, he decides that life is pointless \u2014 \u201ca random lottery of meaningless tragedy in a series of near escapes.\u201d Rather than keeping him down, this allows Hawke\u2019s character to recognize and cherish the little things in life. <\/p>\n

Wentz thinks \u201cthere\u2019s a whole record from that perspective, taking part in these little pieces of life without the consequence. It\u2019s important to not forget those little granular moments of life.\u201d That\u2019s great and all, but why is it featured on this<\/em> album? It does not match whatsoever. I wish we felt this influence Wentz describes in his songwriting more rather than including the literal monologue as track seven. Again, it feels very on the nose, and I can\u2019t help but groan. <\/p>\n

Is So Much (For) Stardust<\/em> a bad album? No, not in the least. Is it the comeback I was hoping for, while still keeping in Stump\u2019s warning that it wouldn\u2019t be a throwback record? Also no. As an avid fan, I don\u2019t need \u2014 or necessarily want \u2014 Fall Out Boy to make a complete return to their roots. I love the incorporation of more mainstream pop on Save Rock And Roll <\/em>(2013) and American Beauty\/American Psycho <\/em>(2015). MANIA <\/em>may not have been anything to write home about, but it still has some stunning tracks where the lyrics prevail over the electro-pop genre and reminds listeners that their punk foundation is still intact. Without the slew of poetic lyricism I was anticipating, I find it hard to hold on to So Much (For) Stardust<\/em> very tightly.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Fans were starting to suspect that So Much (For) Stardust <\/em>would be From Under The Cork Tree <\/em>2.0. Wrong.<\/p>\n","protected":false},"author":1,"featured_media":461,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-460","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nSo Much (For) Stardust Is Good, I'm Just A Harsh Critic - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, 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