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General Comment- I'm bored and in love with this song, so I'm gonna comment :) -įor whoever it was that asked how you get Stephen from Esteban: San Esteban is translated to Saint Stephen. I guess I'm not really contributing much new, but if I had to pick an interpretation I'd say it's about the "faux sermons" of some musicians and the equally false fans who follow them blindly, complaining of "faux afflictions".perhaps an emo commentary, who knows. douse the lights" bit surely refers to being onstage and not being able to see the audience, and then once the lights are doused they're on equal footing, and can that both the band and the audience are putting on a "show tonight", being fake etc. Still, the bands will put up with this ("don't you move") as long as they have fans. During the chorus, I think "strike up the band" alludes to both people who jump on the bandwagon and also concerts in general, where the "congregation" of fans sings along "like you mean it," although "no," they don't, and they "don't.get it" either. I like what someone said about "God be thy witness" being replaced with "YOU'll be thy witness," showing the egocentrism in contemporay society. I think it can definitely be a commentary on music these days, where people worship celebrities more than God, and so the music scene has become the new church. I'm not sure I completely would endorse the last part, but just thought I'd throw that out there. One is that this could be a sort of continuation of "I Write Sins." (which comes right before it on the cd, by the way), since it's still in a church and dealing with hypocrisy, and maybe (this is really out there) Esteban is the waiter from whom he heard that "the groom's bride is a whore" (which is why he'd be thanking him, as he sings about the hypocrisy he's discovered).
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I love his poetry (yes, I consider the lyrics to be that), especially songs like this, which can be so confusing to decipher. His songs are sort of like Hemingway's iceberg theory, in that he doesn't tell you everything but you can fill in the holes with what can be inferred. General CommentA lyricist with Ryan's genius obviously knows that the best writing has no one specific meaning, and, judging by his other songs, I'd say he loves to play with irony and double meanings. If this scene were a parish you'd all be condemned In this little number we are graced by two displays of characterĪnd I for one can see no blood from the hearts No, don't you get it, don't you get it now No, don't you get it, don't you get it, now
#Panic at the disco music book how to#
Urie undoubtedly knows how to put on an entertaining show, but this is a production that lacks the kind of intelligibility and depth necessary for real emotional engagement.Give us this day our daily dose of faux afflictionĬome, congregation, and let's sing it like you mean it Closing string ballad Dying in LA provides some respite from this parade of pizzazz, but ultimately it feels as glossy and one-dimensional as the rest. Later songs touch on the malaise and self-destructive tendencies that can accompany wealth and fame, but since each track comes with the same onslaught of peppy brass, screwed-up vocal samples and showtune choruses, a narrative arc isn’t wholly obvious. Its wordiness and high-octane maximalism mean it tends to resemble a musical – but whether this is a satirical portrait of an endlessly optimistic egotist or simply self-indulgent autobiography is unclear. The tone of Pray for the Wicked is hard to gauge. He toasts his huge achievements on Hey Look Ma, I Made It, explains the logic behind his outlandish ambitions on High Hopes and feels entitled to the very best from life on (Fuck a) Silver Lining. On their sixth album, he puts the latter to the service of a single theme: wildest-dreams success. Urie used to be the group’s frontman – now he’s the only member.ĭespite having shed five bodies over the past decade, PATD have retained their most distinctive features: namely, Urie’s hammy, vaguely reedy voice and dense lyricism (any trace of their rock roots have been expunged, however – this material is strictly pop). PATD, in particular, put an air of jazz-handed camp front and centre – so much so that when vocalist Brendon Urie took the lead role in the musical Kinky Boots on Broadway last year, it didn’t feel like a career left-turn in the slightest. Like their similarly huge peers (Fall Out Boy, My Chemical Romance), PATD retained emo’s interior melodrama but crunched its sound into something more brashly melodic and overtly theatrical.
#Panic at the disco music book series#
I n the mid-00s, Las Vegas outfit Panic! at the Disco made their name with a series of infectious if slightly overwrought emo-pop tunes, many of which sported memorably unwieldy titles (their Chuck Palahniuk-referencing debut single was called The Only Difference Between Martyrdom and Suicide Is Press Coverage).