Fall Out Boy “So Much For Stardust” album review
The iconic emo band Fall Out Boy has made a comeback with a new album aiming to encapsulate the essence of their career so far, albeit with varying degrees of success.
During the 2000s, Fall Out Boy became synonymous with emo music, thanks to hits like "Sugar, We’re Going Down" and "Dance, Dance," propelling them into mainstream success and solidifying their pop-punk/emo sound in the zeitgeist of that era. After a tumultuous journey marked by multi-platinum albums, a lively Tumblr following, and contributions to Disney movies, the band's first LP since 2018, titled "So Much (For) Stardust," has finally been released.
The album spans from angsty poetic love songs to equally angsty poetic breakup songs, all infused with a 2020s post-COVID sensibility. While it maintains consistency, the album's comfort zone falls short of completely captivating the listener. Tracks like "Love From the Other Side" and "Heartbreak Feels So Good" are solid but lack excitement, embodying the quintessential Fall Out Boy style with dancy guitar hooks and emotionally charged lyrics that harken back to middle school nostalgia.
"The Kintsugi Kid (Ten Years)" stands out as the most mature and best-executed track on the album. With ethereal synths and captivating guitar riffs, it elevates the listener, balancing the vocals and drums. While it doesn't reinvent the Fall Out Boy wheel, it makes a bold attempt to leave an impact. "Heartbreak Feels So Good" references the Nicole Kidman AMC ad, incorporating lyrics from Jordan Peele’s film "Nope," a common occurrence in Fall Out Boy's lyrical style. "The Pink Seashell," utilizing Ethan Hawke’s monologue from "Reality Bites," surprises with its solid ambient music, a departure from the band's typical sound. Similarly unexpected is Pete Wentz's return to spoken word poetry in "Little Annihilation."
Returning to the limelight, the iconic emo band Fall Out Boy presents their latest album, aiming to encapsulate the highlights of their career with varying degrees of success.
Having been the face of emo music in the 2000s, with hits like "Sugar, We’re Going Down" and "Dance, Dance," Fall Out Boy achieved mainstream success, solidifying their pop-punk/emo sound in that era. Following a tumultuous journey marked by multi-platinum albums, a vibrant Tumblr fandom, and original Disney movie songs, the group's first LP since 2018, titled "So Much (For) Stardust," is now available.
The album traverses angsty poetic love and breakup songs, all with a post-COVID touch of the 2020s. While consistent, the album's comfort zone falls short of fully captivating the listener. Tracks like "Love From the Other Side" and "Heartbreak Feels So Good" are quintessential Fall Out Boy songs—solid yet unremarkable, reminiscent of the band's early style with dancy guitar hooks and sappy lyrics that could fit into middle school textbooks.
"The Kintsugi Kid (Ten Years)" stands out as the most mature and compelling track, incorporating ethereal synths and guitar riffs. Though not a reinvention of Fall Out Boy's wheel, it attempts to leave a lasting impact. References to Nicole Kidman's AMC ad and lyrics inspired by Jordan Peele's movie "Nope" are typical in Fall Out Boy's style. Surprisingly, "The Pink Seashell" transforms Ethan Hawke's "Reality Bites" monologue into a solid piece of ambient music, showcasing unexpected versatility. Similarly, Pete Wentz's return to spoken word poetry in "Little Annihilation" deviates from the norm.
However, songs like "Heaven, Iowa" and "Fake Out" function as mere fillers, disrupting the album's momentum. "Flu Game" struggles to find its identity, wavering between a rejected Panic! at the Disco cover and a high school musical soundtrack cut. "I Am My Own Muse" and "What a Time To Be Alive" attempt a Danny Elfman and Olivia Newton-John style but fail to capture it in an entertaining manner.
"So Much (For) Stardust" embodies the quintessential Fall Out Boy sound but reflects more on past achievements than exploring new directions. While having a consistent sound is commendable, it may alienate listeners who don't resonate with it. The album seems like a shiny new coat of paint rather than an honest acknowledgment of Fall Out Boy's aging status.
The album oscillates between respecting and rejecting the past, impacting its overall musical cohesion. However, within their comfort zone, Fall Out Boy still delivers an enjoyable experience. Some tracks hint at potential future substance, but if this happens to be their final album, it fittingly concludes Fall Out Boy's journey from rock to dad rock, acknowledging their punk roots but leaving a sense of nostalgia for a time when their lyrics held deeper meaning.
I would give this album 4 out of 4 stars.