Personnel: Taylor York (vocals, guitar, keyboards, synthesizer, drums, percussion, programming); Hayley Williams (vocals, keyboards, synthesizer, background vocals); Ilan Rubin (vocals, drums, percussion); Justin Davis (vocals); Erik Arvinder, Songa Le......more
Personnel: Taylor York (vocals, guitar, keyboards, synthesizer, drums, percussion, programming); Hayley Williams (vocals, keyboards, synthesizer, background vocals); Ilan Rubin (vocals, drums, percussion); Justin Davis (vocals); Erik Arvinder, Songa Lee, Kathleen Sloan, Luke Maurer, Vanessa Freebairn-Smith, Sam Fischer, Caroline Campbell, Alma Fernandez (strings); Jeremy Davis (keyboards, synthesizer, bass guitar); Justin Meldal-Johnsen (keyboards, synthesizer, percussion, programming); Carlos de la Garza (percussion).
Audio Mixer: Ken Andrews.
Recording information: Chez JMJ; Music Friends; Sunset Sound Studio.
Photographer: Pamela Littky.
Easily the band's most adventurous, experimental, and accomplished release to date, Paramore's fourth studio album, 2013's eponymously titled Paramore, is a landmark, a genre-breaking masterwork that, like Madonna's Like a Prayer or U2's Achtung Baby, finds Paramore crystallized into the seminal, cogent rock band we always knew they'd grow up to be. For this release, Paramore worked with producer Justin Meldal-Johnsen, whose previous production credits include artists like Neon Trees and M83. Perhaps not the most obvious choice for a band that developed alongside labelmates like Fall Out Boy, but the first-time pairing explodes with chemistry, coalescing the group's grand emotionality and ridiculously tight hooks with ever new and genius musical avenues, like electronica and even orchestral flourishes. The idea that your songs should only include instrumentation that you can pack into your tour van is a practical limitation that for plenty of bands, especially those of the punk ethos, can become a downright philosophical limitation. But when original guitarist and drummer Zac and Josh Farro left the band in 2010, Paramore were forced to allow vital roles in their sound to be filled with hired professionals rather than actual bandmembers -- after all, they needed somebody to play drums. This clearly opened the band up to explor...
Buzzcocks, The Offspring, Hole, Dropkick Murphys, Yeah Yeah Yeahs, Jimmy Eat World, blink-182, Green Day, No Doubt, The Muffs, Nirvana (US), The Killers (US), Sunny Day Real Estate
Cherri Bomb, New Years Day (Rock), Cassadee Pope, There for Tomorrow, The Letter Black, One Way Letter, Rosematter, Twenty One Pilots, All Time Low, The Mediam (US Punk), June, Automatic Loveletter, Taking Back Sunday, Angels & Airwaves, The Pink Spiders, My Chemical Romance, Plain White T's, Yellowcard, October Fall, Alexisonfire, Hey Monday, Fall Out Boy, You Me at Six, A Cursive Memory, Avril Lavigne, The All-American Rejects, Holy Roman Empire, A Rocket to the Moon, Punchline, Good Charlotte, Name Taken, Katy Perry, Amber Pacific, Against Me!, Scenes from a Movie
1 Fast in My Car
3 Grow Up
5 Interlude: Moving On
6 Ain't It Fun
7 Part II
8 Last Hope
9 Still Into You
11 Interlude: Holiday
13 Hate to See Your Heart Break
14 (One of Those) Crazy Girls
15 Interlude: I'm Not Angry Anymore
16 Be Alone
Rock & Pop
Fueled By Ramen Records
Number of Discs:
Studio or Live:
63 : 48
Rolling Stone (p.66) - 3.5 stars out of 5 -- "Paramore 2.0 maintain their signature post-emo pop-metal gusto..."
Entertainment Weekly (p.111) - "Paramore are making evolutionary leaps into something both refreshingly well-adjusted and genuinely new." -- Grade: A-
Billboard (p.45) - "It bounces from the glam of 'Fast in My Car' to the soul tinge of 'Ain't It Fun'..."
Q (Magazine) (p.111) - 3 stars out of 5 -- "[F]erociously assured....[T]his bullishly self-titled album hits the target..."
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