The fact that at one point I couldn't stand Panic! and the fact that this album merited four asterisks are two of the best examples I can think of to highlight the ever-changing nature of the music industry (alongside an increase in profanity and a decrease in clothing). I've thought about it, and I don't think it's because I Write Sins Not Tragedies was catastrophically overplayed, or because my music taste has changed since elementary school.
Lead Brendon Urie says it all in The End of All Things, "in these coming years, many things will change." Regular listeners and diehard fans will probably be rubbed wrong by this; as I've mentioned before, we seem to have a paradoxical relationship with our favorite bands in which we hope their new music will match the old in quality but will not share any of the same characteristics.
With Panic!'s new album and its classically too long title, to my ears they've gone from a morbid boy-band to upbeat, easy listening, with some rhythms similar to Fun and Darwin Deez. Vegas Lights is a showcase for these new developments, bright and colorful as the nightlife in Urie's hometown.
Girls/Girls/Boys follows the same new set of rules, with an interesting combination of electronic beats rather new to the group and a consistently high-quality instrumental use. And of course, the aforementioned The End of All Things brings the album to a cap with a superior, controlled piano number — one more of these would weigh the album down, and one fewer would make it less worthwhile listening.
Panic! at the Disco embraces growth and change the way all musicians ideally would — it's as simple as "if it ain't broke, don't fix it." They don't just let it happen, they capitalize on it.
St. Petersburg High