Viva Las Vengeance| Panic! At The Disco
Viva Las Vengeance
Viva Las Vengeance is the seventh studio album by American pop rock solo project Panic! at the Disco, released on August 19, 2022, through Fueled by Ramen and DCD2 Records. It was announced alongside the release of the lead single and title track "Viva Las Vengeance" on June 1, 2022, and will be supported by a tour beginning in North America in the third quarter of 2022,before visiting Europe in 2023. -Wikipedia
Panic! At the Disco’s ‘Viva Las Vengeance’ Is an Audacious Classic-Rock Throwback…With a Heart!
It absolutely borrows plenty from all of Brendon’s influences – but that’s not a bad thing. Viva Las Vengeance is both consistently catchy and classic-sounding, and another fine addition to Panic!’s remarkably varied discography.
Shiny arena pop is out and classic rock is in for the quintessential band of the Myspace era. The result is weird, nostalgic and hugely refreshing.
Ultimately, ‘Viva Las Vengeance’ knows exactly what it wants to be. As Urie’s crystal-clear, brooding voice sounds out, it’s clear that this is intended to be an all-singing, all-dancing musical spectacular. While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.
The Musical Hype
Panic! At The Disco, led by Brendon Urie, serves up surefire excellence from start to captivating finish on their seventh studio album, Viva Las Vengeance.
So. In conclusion. If we ever say we’ve changed our minds about this album, please be aware that it’s a cry for help. We’ve been kidnapped. Save us. All that good shit.
With noticeable detest in the band’s music and stature, the band’s popularity will continue to decline. The band was destined to redeem themselves soundwise, but they lack lyrics and vocals with sustainable instrumentation, making the album barely listenable. All in all, this album won’t give them anymore “High Hopes” nor will it give them the vengeance they were striving for.
This album was a slog to get through. It’s not just unoriginal in concept and execution, it’s boring. Really really boring. And at the end of the day, that’s worse than listening to something like Corey Feldman or William Control because at least they provide some laughs whilst you listen, they’re so bad they’re good. This album? It’s empty of entertainment, devoid of personality, and is a stark reminder of how much Brendon refuses to use his talents.
A classic-rock riot.
‘Viva Las Vengeance is an incredible return after a 4-year hiatus for Panic! At the Disco (or, let’s just call it for what it is, Brendan Urie). He continues to perfect his craft with each release, and while the directions he sometimes takes can be at times controversial, I’m confident in saying that there’s something for everyone in ‘Viva Las Vengeance’.
Music Matters Media
In fleeting moments across Viva Las Vengeance, one can feel themselves succumbing to Urie’s enthusiasm and to the nostalgic charm of the backwards-looking music. But, it’s never long until a lyric emerges that is so clunky – or a vocal that is so excruciating – that one can no longer look past the album’s flaws. In these moments, there’s no hiding from the truth of Panic’s terrific decline in artistic quality.
'Viva Las Vengeance' is a short-lived mess.
Liverpool Sound and Vision
That said, Viva Las Vengeance is an edition to the works of the name at hand, cool, sometimes brutally so, but often one drenched in its own longing, and one that does not perhaps stand with Brendon Urie’s artistic vision of past glories.
Viva Las Vengeance is Urie's amorous declaration to everything sumptuously mythic, exultant, tragic, and yes, even silly, about loving and aspiring to be a part of the rock & roll world. That Urie is completely self-aware about his place in that world makes the album all the more delicious.
The cinematic musical journey is about the fine line between taking advantage of your youth, seizing the day and burning out. The songs take an introspective look into his relationship with his decade plus career including growing up in Las Vegas, love, and fame.
It is difficult to rate and review an album like this — when an artist has proven time and time again their undeniable talent for music-making, it is heart-wrenching to give their latest effort such a low score. But the fact is, even the songs’ melodies aren’t strong enough to redeem this disappointment of an album. Until Urie returns with his next (hopefully more interesting) LP, it is best to revisit his first five stellar albums.
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