Paramore – All We Know Is Falling
[color=gray]Record Label: Fueled By Ramen
Release Date: July 27th 2005[color=gray]
Nashville TN pop-punk/pop-rock outfit Paramore is a band that I have a very interesting relationship with. They were one of the first bands that I ever discovered about seven years ago, and the band’s debut record All We Know Is Falling is the first record I ever purchased on iTunes. Sadly, I lost it when my computer crashed, and that was before I learned to back things up to CDs. After that, I picked up a copy of the band’s sophomore record Riot in 2007 when it was released and easily fell in love with the band. To this day, I still have nostalgic feels when listening to it, even if I don’t enjoy that record as much as I do today. In the two years that passed between Riot and the band’s third record Brand New Eyes, I kind of grew apart from the band, and really didn’t pay much attention to them. I bought Brand New Eyes when it was released in 2009, and that record was a major departure for the band, but that record made me fall back in love with them. That’s my favorite record by them, hands down. Since the band have a new record coming out in the next few months, and already have a new single (which is the song “Now”), now would be a great time to get back into their back catalog by purchasing a physical copy of All We Know Is Falling. This is the record that started it all, essentially; this record that showed what Paramore is made out of, and it certainly does deliver. If I did have to accurately describe this record, I would say it’s the Take This to Your Grave of Paramore. Take This to Your Grave is the major label debut by Fall Out Boy, whom was on Fueled By Ramen before Paramore released All We Know Is Falling, and that record was a great record in its own right, but merely scratched the surface of what the band was capable of. Just like Fall Out Boy, All We Know Is Falling has the same vibe to me. This is not their best record, by no means, but it does show a lot of potential. And just like Take This to Your Grave, the star of the record is the vocalist. In Paramore case, it’s vocalist Hayley Williams, who has become a star in her own right during the last eight years or so. She’s a vocalist that’s become a force to be reckoned with, and on this record, she (along with her lyrics) do take the cake. I will her admit, her lyrics are not up to par with, say Pete Wentz of Fall Out Boy, but they still do deliver, nonetheless. The music itself is enjoyable, but doesn’t really stand out, either. The same can be said for Take This to Your Grave. Both records are textbook pop-punk, but do have unique qualities about them. With that all being said, let’s dive into this record so we can know all about falling, shall we?
The record begins with “All We Know,” and it actually features the lyrics that inspired the title within the chorus, but this song is a nice opening track, because it shows what the band itself is made out of, really; instrumentally, it’s rather generic, and not terribly impressive, but as I mentioned earlier, vocalist Hayley Williams is what really carries this song, and this whole record. There are certainly moments where the music itself is unique, but as a whole, it’s quite straightforward pop-punk and pop-rock. Second track “Pressure” is arguably the band’s most popular song, and if it’s not, it’s in the top five. In fact, this record has a few of the band’s most popular songs, “Pressure,” “Emergency,” and “Conspiracy.” Coincidentally, “Emergency” is the third song, and appears right after “Pressure,” so these two tracks really serve as a one-two punch, because “Pressure” is certainly what Paramore is all about, and I’d go as far as to say this is one of the definitive Paramore songs, because even if their sound has changed quite a bit since then, this is still one of their strongest songs. “Emergency” follows in its footsteps, really, but I definitely enjoy the lyrics on here a lot more, specifically the lyric, “I’ve seen love die way too many times.” For whatever reason, that lyrics does give me a lot of feels. Before I talk about the record a bit more, there is something that does bother me about this record, and it’s actually the same thing that bothers me about Fall Out Boy’s Take This to Your Grave which I kept mentioning earlier. It’s the fact that both records are rather straightforward and every song sounds the same, even if it’s a very enjoyable sound. This is why I don’t enjoy this record as much as Paramore’s later records, and if their progression is even more so on their self-titled coming in April, I will certainly enjoy that record.
Fourth track “Brighter” is another track that I really enjoy, because it does show Paramore at their very best, as a few of the songs on here do. Sadly, though, after this song, a few “filler” tracks make their way to the record. I haven’t really spoken much about the concept of filler tracks on my reviews, because most of them are quite forgiving, as are these, but they really don’t do anything for me. That’s what I would really call a “filler track:” a track that just doesn’t really do anything for me. If there’s one track on this record that has “filler” written all over it, it’s seventh track “Whoa.” Doesn’t that just give you the vibe it’s a filler track? While the lyrics are rather solid, that’s exactly what it is – it’s a filler track to me, and doesn’t serve any purpose. Thankfully, the track “Conspiracy” comes after that, which is one of my favorite tracks on the record, and one of my favorite tracks by them in general, so it does save these few filler tracks. This is another definitive Paramore song that any new fan should listen to if they want to get a good feel for the band. Ninth track “Franklin” is another track that doesn’t do much for me, but I wouldn’t call it filler, though. Regardless, last track “My Heart” is a great closing song, and features one of the most interesting moments on the record – screams from lead guitarist Josh Farro. While it’s certainly unique moment, I really don’t like them. It doesn’t seem to work well because the song is a cutesy little song where Williams professes her love for someone, so those screams by Farro really don’t work, in all honesty. What does work, however, is the track itself. It’s a very nice closing song, and it ends the 36-minute album on a very nice note. While this is not Paramore’s best album, it really showed that they were becoming a force to be reckoned with, and if anything showed that, it was 2007’s Riot. It’s been about four years since 2009’s Brand New Eyes, and now they’re back. I couldn’t be happier.