Paramore: brand new eyes

On the surface of things, it's difficult to pin-point the elements of Paramore which propelled their to the heady heights they now enjoy.

We've seen far better bands attempting similar ideas (Holy Roman Empire, for instance). There are better song-writers out there, catchier pop-punk riffs and certainly more attractive leading ladies. Yet, with the aid of a fashion conslutant for Ms. Williams, the full support of Hot Topic and a full marketing offensive by their label, Fueled By Ramen (they are also on a 360-deal, which basically makes them label employees rather than freelancers) they've achieved meteoric success.

You can call us cynical, but it is rarely the 'best' product which triumps. VHS vs. Beta; HD-DVD vs. Blu-Ray: both times the lesser man won, and with Paramore - a band who can't quite spell their own band name properly - the same is true also. It's impossible to predict which bands the public will embrace, and which ones will be joining Hey Monday in the bargain basket.

With that said though, Paramore are rarely as bad as the naysayers may believe. The years since the release of their last album Riot! have been kind the band. They've grown into their sound remarkably well and show a new-found confidence which seeps from every pore of brand new eyes.

There are parts to gripe at, "Ignorance" sounds like a bad Billy Talent knock-off, and not one of the good albums. "The Only Exception" could have easily been on Avril Lavigne's first album since it is, of course, the time for the band to showcase their 'diversity' with an acoustic ballad. Personally, we think every pop-punk band writes one of these so that they have someone to play at the in-store signings, when electricity is not an option. It does, naturally, also feature embellishment a la orchestral strings.

Playing by their usual formula though, Paramore have undeniable skill at the frantic, breathless pop-punkery. The shouty verses dispensing with as many words as possible in the shortest amount of time so that they can get on with the serious business of their choruses. True, Williams does sway in favour of a similar melodic structure to her choruses every time (high-pitched power-pop with lots of sustained notes) and it does become a little predictable over the eight or so tracks on which she uses said template, but it is a template which she has mastered, imbuing a sense of urgency and warp-speed into your average power-chord sections.

"Turn it Off" is something of an exception. It still features the slow verse and power-chorus structure (as does every other pop-punk song every made) but the chorus pleasingly ascends and descends the vocal scales, throwing sustained and barely-breathed syllables throughout, making it a melody which is truly memorable, rather than as throw away as yesterday's jam. More like this would be appreciated Ms. Williams and her backing dancers!

Her guest spot with Set Your Goals proved that Paramore's front-woman cannot do hardcore-punk, so the absence of any such stylings on brand new eyes is appreciated. Less power-cut ballads next time would likewise be appreciated. "Misguided Ghosts" still tempts us with the skip button.

There's enough evidence of skill, passion and energy littered around the band's second album to explain their position at the top of the charts. For those willing to look past the top 10 album chart though, there will always be better bands in very much the same vein (like how Within Temptation were always way better than Evanescence) but this is nowhere near the train-wreck which the DIY scene were hoping it would be.