Until shortly before this record came out, I had previously only regarded Fall Out Boy as a run-of-the-mill pop-punk band who had found themselves thrust into the spotlight through a series of opportune circumstances. I thought they would be replaced by another generic, flavor-of-the-month imitator and wouldn’t have to worry as much about fulfilling the musical expectations set upon them by the masses, while also being directly in the public eye. Marrying Ashlee Simpson does that to you.
But anyone with a TV, radio or computer knows how ridiculously popular Fall Out Boy is, and so do Fall Out Boy. They’re admittedly far-removed from the Take This To Your Grave days, as though their last two albums weren’t any obvious indication, but Folie à Deux is their latest step away from their rock ‘n’ roll roots as they stride brazenly into the pop paradigm.
But somehow, this isn’t an entirely ostentatious showing of big-budget production values and self-indulgent pop songcraft, and that’s exactly why it’s as strong of an album as it is. Fall Out Boy’s self-awareness is their saving grace. They’ve successfully made the big, huge, mainstream-friendly record their fans (and label) want them to make, but also one that caters to their inner pop-punk yearnings and is musically sound. Not too adventurous, as can be expected, but they know how to write a fine pop song and please their fans. The added instrumentation of horns and strings, as well as the intricate layering of vocals, complement the songs on which they’re employed rather than rendering them overwrought and ridiculous. Patrick Stump’s voice still drives me up a wall, and it goes all sorts of over the top on Folie à Deux, but it matches the reputation that his band carries – you may not like them, but you’re going to hear about them wherever you go.
This is not to say that I’ve submitted to their reign of terror. I am not a fan of Fall Out Boy or any of their recorded works, and their latest album is no exception. I’m not proud to have them scrobbled in my library on last.fm but I am glad I gave them a fair shot before dismissing them this time. On the bright side, I didn’t even squirm in discomfort. “Headfirst Slide Into Cooperstown On A Bad Bet” is actually pretty good, along with “She’s My Winona” and select parts of a handful of others. The biggest disappointment is how badly the guest appearances fall flat – Elvis Costello sounds strained and out of sorts, Debbie Harry is understated, and Lil Wayne blends so much into “Tiffany Blews” that I had to listen again (much to my chagrin). In any case, Fall Out Boy has created in Folie à Deux the record they know they’ll soon be able to convincingly rock in an arena near you.
Overall: 5.5
