Log in

No account? Create an account

Folie a Deux Review

The long-awaited Fall Out Boy album is finally here. After postponing the release from Nov. 4 to Dec. 16, Fall Out Boy fans had to wait longer than expected. "Folie a Deux" - literally, "a madness shared by two" - is the fourth official Fall Out Boy CD.
Much like the own band, the CD will manage to get either love or hate from listeners. There doesn't seem to be any other way around the two extremes when it comes to this band.

There will definitely be problems with exactly the type of music made. Much like "Infinity on High," the single "I Don't Care" doesn't exactly fit or give a prediction of the type of music the CD brings. It's much like playing the game of "Which of These Doesn't Belong" from Sesame Street.

Though the CD doesn't fit an exact music type, the songs are completely different styles while still managing to keep the old Fall Out Boy feel to them.

The first song starts with nobody introducing them lie “Infinity on High” only Patrick Stump's singing and the music. It shows one of the many styles the band put on for "Folie a Deux."

Some noteworthy appearances include Elvis Costello and many artists from the Fueled By Ramen and Decaydance labels, as well as rapper Lil Wayne. The singers from Fueled By Ramen/Decaydance all make their appearances in the song "What a Catch, Donnie," singing some past favorites in the end, such as "This Ain't a Scene" and "Sugar We're Going Down." The song as a whole sounds like a farewell, making it seem like it should belong at the end of the album instead of the middle.

"Tiffany Blews" features Lil Wayne, and honestly, not enough of him. The song is actually quite catchy and good, mixing in some slight rock sound with pop. Lil Wayne doesn't do what he knows best: rapping. Instead, he actually sings a couple lines with some effects that make him sound like a monotone robot.

The song "20 Dollar Nosebleed" features Brendon Urie of Panic at the Disco. Stump's and Urie's vocals go well together, giving the song more flare and style.

Just when listeners might think, "No screaming in this CD? Awesome!" they'll be dreadfully mistaken. Of course, the unwanted and unneeded screaming makes its appearance in the last song, "West Coast Smoker," possibly trying to top off the slight rock feel of it. It's the thought that counts, but the screaming just doesn't sound too good.

The album as a whole doesn't sound like any other albums that have been made. It shows just how much the band has grown up, giving fans better lyrics and music to go with them. It's not just about the breakups or feeling angry anymore, there's more emotion compiled in the album unlike some of the group's earlier works.

Fans will be sure to disagree with each other on whether this album is the best or the worst, but hopefully most will understand that the band more than likely spilled their guts into this CD and that the foundation of early Fall Out Boy is still present.