The epitome of an identity crisis
BY : LAUREN JOHNS
Staff Writer
Fall Out Boy is back with the madness after three long years of waiting for Patrick Stump’s soaring vocals and Pete Wentz’s lyrical magic. Their latest album, ‘Mania’, released on Jan. 19, is the epitome of 
an identity crisis and hits the listener with a wave of emotions like the one pictured on the cover.
Track 1: ‘Young and Menace’
It’s not a bad thing that every song on this album is its own genre. This is particularly apparent in ‘Young and Menace.’ However, despite the energy and catchiness, this song’s lyrics and depth are overshadowed by all the EDM beats. The chorus was too long and everything seemed to be thrown together haphazardly. This is the kind of song you blast while speeding down the highway. While it’s not my favorite on the album, this song definitely grew on me.
Track 2: ‘Champion’
This song is my favorite on the album. Despite the added amplification to Stump’s vocals, this song is the band going back to their roots. Even though the chorus lyrics are a little too simplistic and repetitive, the guitar undertones and crashing snares really drive it forward and give a strong sense of raw power. Patrick Stump being “back with the madness” is like a battle cry to the world. The chorus emphasizes how “true champions are created not born.” All in all, its meant to empower the community through insecurities and other struggles. The whole thing gives me Ancient Rome stadium vibes.
Track 3: ‘Stay Frosty Royal Milk Tea’
The driven, upbeat chorus line makes you feel strong and as though you can accomplish anything, but ironically the lyrics, “the only thing that’s stopping me is me,” beg to differ. As the chorus reaches its close, Stump sings, “I testify, if I die in my sleep/Then know that my life was just a killer dream.” The way the line is sung makes it seem very bold and celebratory, when in reality, Pete’s lyrical vision captured it in a dimmer lighting. They no longer care as much for glory, recognition and fame; they just want to live an exhilarating, fulfilling life.
Track 4: ‘Hold Me Tight or Don’t’
Despite this song being ranked number nine on the charts, it’s overdone, generic pop junk. Even though I’m a firm believer in experimenting with new sound, it seems too random. There are some parts of the song I do like: the synthesizer behind the “woah’s” in every chorus, a couple short guitar riffs, too. And the bridge, which is the only section that sounds even remotely like them. The tune masks the genuine message, unless the song is actually representative of how he wears his happiness like a mask. At least it’s fun to dance to. Use it for a luau (or don’t.)
Track 5: ‘Last of the Real Ones’
This is another really popular song (according to itunes) and I can tell why. There is a certain strength and jubilance to Patrick’s voice when he starts singing. There are a lot of lyrical ties to previous albums, like the “gold plated” reference from “Infinity on High”. I love how this song reaches out to those who’ve formed a close bond in their lives. It leaves listeners in a “You and I” against the world kind of mindset and proves to be the anthem for all things daring
and bold.
Track 6: ‘(Wilson) Expensive Mistakes’
I love how Pete continually makes references to forgetting what he was doing at the time. The whole “Mania” theme really plays into the irony of “forgetting what you were crazy about.” This song is possibly the most relatable on the album. For instance, Pete throws in a little comedy with the line, “and when I say I’m sorry I’m late, I didn’t plan on showing up at all.” Every college student has used this little white lie at some point in their lives. In addition, Pete became “such a strange shape,” from trying to fit in, even more reason to stay in the dark. The song has a laid-back nostalgic vibe and closes with Patrick’s voice in acapella, ending on the word “color,” pure and genuine.
Track 7: ‘Church’
The symphony of bells and choral is somehow uplifting and creepy at the same time. Although the chorus is simplistic, the music makes up for it just enough to leave a large impact on the listener. My favorite part of the entire song is the amazing yet unexpected rhythm change from the chorus to the verse. It sounds so easy and effortless with Patrick’s impressive vocal range. The lyrics in the bridge seem to show the darker undertones of life. Based on this, time is fleeting and we can sit around and wait for our turn to come or we can love what we have to the point of worshipping it. Truthfully, this song is holy to me.
Track 8: ‘Heaven’s Gate’
I enjoy how soulful, old time rock’n’ roll and almost jazzy this song is. It was pretty mediocre until Patrick’s high note after the bridge. All in all it was another opportunity for Pete’s lyrics to showcase how hard it is for people to change and to know who they are. They need someone holy, like a ray of light, showing them the way to positive change.
Track 9: ‘Sunshine Riptide’
Nothing about this song knows what it wants to be. In the beginning, it sounds like the typical indie rock with a little bit of futuristic synth to it. But then, Burna Boy randomly starts singing with a reggae style. I get it; it’s meant to remind listeners of the ocean and sunnier times. But it’s constantly changing and you never know what to expect. A “riptide” is unpredictable and rapidly moving so the song must be that way on purpose, which in a weird way is kind of genius. I actually love this song for its outlandish creativity.
Track 10: ‘Bishop’s Knife Trick’
This song is a breath of fresh air and a strong finish to a well-crafted album. In the verse, he proves how disconnected he feels from the real world, as if he lives in an entirely different dimension altogether. It all takes a darker turn with the “last blues line” possibly representing pills and how close he was to suicide. But on a more positive note, it was the last of them and he’s continued living his life.
