Fall Out Boy Strums Fans into Stardust with Latest Album
For the past decade, Fall Out Boy has been crafting albums with solid tracklists to keep the lyrical ballads moving listeners’ minds and heartstrings as they press play. Their newest release, So Much (for) Stardust, has sentiments of heartbreak and bold liberation of accepting situations in life.
Starting the album, “Love From The Other Side,” beckons the listener into the soundscapes with a soft orchestra of violin strings, then solidifies the rock with forceful power chords to stun the beginning of the So Much (for) Stardust mentality. Transitioning into “Heartbreak Feels So Good,” a staccato of piano keys introduces breaks into the track to offer pauses for listeners to observe the lyrics such as, “We can dance our fears away / Emancipate ourselves.” Overall the track is a core groove for the album, which maintains catchy anticipation for what is to come.
Carrying the same rhythm and lyrical tone, “Hold Me Like a Grudge” is a fun and upbeat track for an ode to a nightlife party while “screaming at the stars like night lights” and enjoying the moments we share with friends in totality. Fading into “Fake Out,” a slower chord progression leads the track into a harmonious comparison of the lyrics and the beat. Uplifting the album’s mood into the stars, “Heaven, Iowa” has listeners floating in the clouds with soft electric pads to add to the angelic melody. Sharp leading vocals pierce the hearts with the thought of seeing past loved ones, even when presented with a theme of death.
As listeners reach the core of the album, “So Good Right Now” elevates the energy into more of a pop-like lyrical hook. Descending back to earth, the interlude arrives with “The Pink Seashell (feat. Ethan Hawk),” a spoken ballad to add to the mystery of the song space with an orchestra to support listeners as they can ponder the conversation that is behind the frequencies. As listeners walk along the shore of the track, “I Am My Own Muse” transcends old sentiments of a past relationship that may have been a letdown.
As the album transitions towards the end, “Flu Game” adds edge to the rhythm with layered guitar and oscillating distortion. The track has a baseline that makes it a contender for one of the strongest rock songs on the album. Next, to add atmosphere, Fall Out Boy created an ambient background track, “Baby Annihilation,” for a poetic feel to the album, which transports listeners back into a portal into space. Finally, sinking into the dissonance, “The Kintsugi Kid (Ten Years)” keeps prolonged chords swinging into the kick and leads the guitar solo.
Dancing into the final two tracks, “What A Time to Be Alive” grooves into the album’s mainstream. This tune offers punchy lyrical hooks and sustained layered guitar solos into the atmosphere of the soundscape. Carrying the same tone of horns, the title track, “So Much (For) Stardust,” allows listeners to sink into a melancholy reminder of hoping that situations will work out for the best. A choir is incorporated into the track for added beauty. Although the title track sounds sorrowful, the contrast with more angelic choir voices picks up the momentum and gives a more profound meaning when listening as the album fades in totality.
Fall Out Boy has a talent for nostalgic words that can whisper into the minds of tastemakers and fans across the globe. So Much (for) Stardust holds a movement that wisps listeners into newfound spaces, uplifting new ideas about the rockers. The entire album offers listeners the opportunity to sit with their feelings yet own the complexities that they may have of themselves, and for that, listeners can be sure to enjoy all the transporting that the album provides.
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