After five years, in the aftermath of the global pandemic, and in the midst of the modern post-punk revival, Fall Out Boy is one of the most recent big names to rise from the ashes after a long hiatus. So Much (For) Stardust is their eighth studio album, and a decently long time coming, with the same period of a hiatus as the first time they did it between Folie à Deux and Save Rock And Roll.
The moment I knew they were starting another album cycle, I was more than excited. I caught Love From The Other Side the hour it dropped, and it only got me more excited. Fall Out Boy has been a strong contender in being the next rock-turned-pop sellout band, especially with the less than satisfactory work on MANIA, but Love From The Other Side saw a lot of their older sound, and more importantly, their stronger writing back in full force, albeit modernised. Heartbreak Feels So Good as the second single, even though not the most impressive, at least let me know that we weren't looking at a lone hit single record type of deal, so I eagerly awaited March 24th.
I wanted to listen to this record a considerable amount before I decided what to write on it, because I didn't want to jump to conclusions with a band that has consistently made me rethink their work time and time again, and also because a lot of music that has come out since the pandemic has seen a noticeable change in sound, for better or for worse, and holding onto expectations of their previous sound has always been a bit misguided. I am quite happy to say, though, that after drilling every song into my ears, I do love this record to death.
It's hard to say that this record is a return to form, because it's not really, and I don't think they ever intended it to be either. So Much (For) Stardust is a brillant and striking development in their creative evolution, and the only true return to form here is how they brought back the unbridled and unstifled creativity that made some of their best albums. Fall Out Boy has always been a band that dared to think outside the boxes and blur the lines, and there are always some successes and failures that come along with that kind of experimentation, but they've always been such a strong creative force that could almost guarantee some ingenuity in whatever they do.
The thing I immediately noticed, and was super grateful for, was seeing the guitars and drums play a major part in the record once again. It was a disappointment to see both elements so ruthlessly sidelined in MANIA, despite their roots as a rock band and all, and I felt that there could've been better ways to go about a pop-leaning record without losing touch with half their band's art. Seeing both Joe and Andy get to play their instruments again, and in such a strong degree of expression as well, was heartwarming. It felt like they found their soul and sound after having lost it in the rush to stardom.
It's obvious that the record is influenced by the pandemic, I think it'd be weird if it didn't. I enjoy the themes of retrospection and cynicism, byproducts of the paradigm shifts in society, recovery and growth, and iconic to their band, themes of love as well. Despite that, they make a record that is quite well-rounded, not at risk of becoming dated in years to come, which is quite a feat.
I hate to compare records to records like this, but it has to be said that this feels like a spiritual successor to Folie à Deux in a way, just because there are so many parallels to be drawn between the two. The hiatus preceding them to begin, but also how it stands out from the rest of the discography in it's sound. Both were very instrumentally and creatively diverse, with edges of experimentation, distinctly contrasting from the rest of their discography. Both were worked on at length and carefully by the band to make songs that made use of a lot of new and untouched instruments and techniques. Both were controversial to a big extent, seeing a divide in their fanbase as hate came from fans wanting their older sound back and love came from those who understood and appreciated their creative endeavours. They both share use of orchestration and compositional work, spoken word interludes, diverse genre influences and songwriting unconventional to their existing discography. It even saw the same return of previously neglected elements of guitar and drums in the songwriting process, which is admittedly an odd thing to have happen twice.
There are so many things to love about this record. I loved seeing Pete's lyrical ability in such a strong position once again, alongside Patrick's stellar vocal work that comprised many of the record's quality lines and hooks. Some of my favourites include "What would you trade the pain for?" on Love From The Other Side, "So make no plans and none can be broken" on Fake Out, the bridge on So Good Right Now, the chorus of I Am My Own Muse and the entirety of the title track. The instrumentation has reached a peak to rival their pre-hiatus work, whether it's the piano intro to the record, the guitarwork on Hold Me Like a Grudge's post-chorus, the short guitar solo-ing on the final chorus of Heaven, Iowa, the orchestration on I Am My Own Muse, and the absolute compositional masterpiece on the title track, which just happens to boast the most refreshing and dynamic drumwork from Fall Out Boy in a while.
It is so unreal, and awesome at the same time, to see a band older than me, and all along regarded as a legendary band of its time, still around and releasing music to this day. The modernisation of their sound may be a controversial and critical one, but it is simply astonishing to see that their creative energy and force has never faded with time, and adapting to the music as music evolved. Beyond the brilliant songwriting and music itself, they are such an inspiration for musicians with the way they push boundaries of both the scene and their own, challenging themselves to make meaning with everything they do.
I think they've outdone themselves with this record. Fall Out Boy has always been the kind of band to walk the fine line between pretentious and genuine creativity and consistently end up on the right side, something they've fine tuned since the days where they didn't have enough time to refine their songs and had to heavily lean on the "first-thought, best-thought" mentality. So Much (For) Stardust has serious potential to claim the title of being their best record, and I have to let recency bias and the contrast of MANIA die down before I can confidently decide, but in the meantime, it is more than safe to say that this is a brilliant record from the fall out boys.
Rating: 9/10