Written up by its singles and taking its tone from there, Paramore’s latest album and return to the fold is a welcome one. This Is Why has lingered in the minds of many, rent-free, for some time. Dance-punk style from the trio is as formidable as it was on the title track, as bad as it was on C’est Comme Ca and as drowned out by passive and noncommittal political lyrics as The News. Paramore is trying, though. That is key. No more Hard Times. A push to conscious and conscientious lyrics that feel like a freefall that presents sharp instrumentals and a quality range for Hayley Williams to work through, but falters occasionally when presented with the objective of presenting a heavy-hitting track.
This Is Why has its title track to depend on, a raw and powerful dance-punk track where the beat is steadier than anything else. That should be no surprise. Paramore in previous iterations has always been close to the top of what they do. Whether that is because what surrounds them is objectively terrible is beside the point. The News is still an empty track that suggests turning off the news as if such a stoic, simple action is possible. Just as it gets to the weighty potential, it ends, a faux energy holding it together through Zac Farro and Taylor York’s instrumental inclusions. Post-punk influences are much clearer here and Running Out of Time cements that well. Lighter and looser, a freed-up tone that ends abruptly with C’est Comme Ca. Paramore appears keen to move on from their singles on This Is Why, even if Williams’ verses are quality-laden.
Big Man, Little Dignity follows up with an indie-pop feel and appeal, possibly the strongest album track of all. It bridges nicely into You First, a track that flips the album’s intentions over as Paramore begins blurring old and new stylings. It is nicely formed, a revenge track with a loud but unmoving clash of lyrical cynicism and solid rock-like pushes. Figure 8 feels definitively empty as it drives around and around the circuit it creates for itself in the underwhelming tonal shift. Liar confirms that regression. What began as a power-pop styling with a focus on post-punk rebellion and shaky but clear socially present, commentating intent soon dribbles into standard indie ballads like Crave and album closer Thick Skull. Williams’ powerful vocal presence is the one constant throughout. She manages the shift in tone, but it feels as though the gang ran out of steam by the end of This Is Why.
“Intentions only get you so far,” Williams pushes through on Running Out of Time. Paramore run out of time on This is Why to cement anything incredible, to give themselves that next major push. Returning momentum will carry them but This Is Why, beyond a handful of earworm tracks and elevated pockets, struggles to place itself in the post-punk politics of the time. Beyond that, though, This Is Why is fun. It has the usual run of anthemic pop-like post-punk qualities to it. Lyrically it stumbles through with that bleary-eyed, rightfully-grounded anger that functions as a starting point, lost to the unremarkable shifts, the tonal constants and the lack of fiery power on the last five tracks.
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