Paramore dominated 2013 with the release of their highly anticipated, fourth studio album. The album gained widespread success with singles ‘Still Into You’ and ‘Ain’t It Fun’ pushing the band higher and higher up the pop charts, whilst still retaining that rock edge. The past year has seen the band take over America alongside emo pals Fall Out Boy, headlining Reading and Leeds Festival amongst other performances and petite frontwoman Hayley Williams has received the Billboard Trailblazer Award. Pretty impressive. Adding to that, they also announced ten days before it’s release that there would be a deluxe edition of their Self-titled record coming out, complete with twelve new tracks.
The ‘deluxe’ section of the album begins with a rendition of album track ‘I Hate to See Your Heart Break’, which stands as a duet between Hayley and Joy Williams, a Grammy Award winning singer-songwriter from the US. As delicate and pretty as it is, it wasn’t a top pick from the album the first time around so it’s not one that’s eagerly played this time either.
Things really kick into gear with ‘Escape Route’ and ‘Native Tongue’, two tracks that had previously only been heard live, or on specific releases of the record. ‘Escape Route’ is a feisty song, with an opening riff that’ll stick in your brain and Williams’ vocal powerful with an added punch in her tone. It’s the standout track from the bonus additions to the record, fast-paced with a chorus destined for sing-a-longs, it shows Paramore at their best. ‘Native Tongue’ takes a poppier approach, the chords are simple and it’s easy to listen to, a head bopper – if you will. It’s a fun-filled track that’ll certainly appeal to Paramore’s more recently adopted fanbase, but you feel like you’re waiting for a big moment, a big moment that never truly arrives.
We also see an album demo make an appearance, in the form of ‘Tell Me It’s Okay’, which retains that old-school, raw quality that demos have. With anger and frustration hidden within the words, it’s a punk song wrapped up in glitter, with a bouncing chorus and distorted guitars leading you through.
The rest of the ‘deluxe’ section to the album is filled with live-recorded tracks, from back when they played the infamous Red Rocks earlier this year. Though live tracks are sometimes seen as a copout for extra material, what they do here is remind us all of what an incredible live band Paramore have become. Williams’ vocal is astounding, which is particularly apparent in ‘Decode’ and ‘Let the Flames Begin / Part II’, where she reaches notes that many singers could only dream of. You can hear the passion for their performance in each track, the energy is raw and each moment is as powerful as the next.
Whether you’re a fan or not, there’s no denying that Paramore are on a path to World domination and despite the troubles they’ve faced over the years, they still remain the same musicians they were ten years ago. This deluxe edition is just yet another reminder of why they’ve become one of the most successful rock bands of our generation.
TAMSYN WILCE