All in all, a spectacular way to end the album. The chorus is the regular bombastics you’ve come to expect, but the song once again picks up at the instrumental bridge, on of the few times TBS actually jams out, and the solo Eddie Reyes pulls off is surprisingly good.
The quiet verse is mainly supported by cymbal tapping, and creates a tranquil effect not present in any of TBS’s previous releases. I’ll Let You Live, on the other hand, is possibly the best song TBS have recorded to date. The schizophrenic vocals compliment the very Morello-like guitar very well. After a rare bass intro, we go back into a song once again reminiscent of “Head Club” or “The Union”. Error Operator was in a way the first single off of the album, and it was a good choice to showcase the energetic feel of the album. By the grace of some higher power, they continue that trend with Error Operator and I’ll Let You Live.
#Tbs tell all your friends lyrics how to#
Whether it was the pop-power combo of “You’re So Last Summer” and “Head Club” or the ballady closing of Where You Want To Be with “Little Devotional” and “…Slowdance on the Inside”, TBS knew how to close out their album in high fashion. While he still isn’t anything out of the ordinary, he is more in tune with what the band is doing here, and while the harmonies may still not be as strong as Lazzara and Nolan may have once had, it’s a vast improvement.Īrguably the biggest strength of the previous two albums was their endings. However, Mascherino had made the more vast improvement of the two. While he is still whiney, he has toned it down to more of a “He’s complaining again” than “Dude, just shut up”. Previously, he would get uncomfortable during his more eclectic moments, and it got to be part of the “annoying trait” that plagued him. He no longer forces lyrics out to make them fit, and has also learned how to get his voice up an down without going from one high to another low. Lazzara also has improved in nearly every way for this album, he no longer sounds needless whiney, and in general sounds more comfortable. However, the welcomest change is the addition of a clearly audible bass, and while it may be nothing truly special, it’s a noted improvement. The main riff is more interesting than nearly anything on Where You Want To Be, and is perhaps the best they’ve yet to use. What It Feels Like To Be A Ghost remedies this curse by being not only a good summation of Louder Now, but by being an excellent song in and of itself. Sure, they were decent and were good indications of what the album was to be, they still fell flat. One the biggest weaknesses I saw in my marathon TBS listening was that the previous two albums lacked strong openers. It is also by far their most varied album, with their first song that can be considered “epic” by pop punk standards, not one, but two slow songs that work, and plenty of the lighthearted catchiness TBS is known for. Louder Now is a much, much bigger rush than the previous two albums, with lots of unrestrained energy being showed. Enter 2006, and a want to make a studio album that reflected their live energy more than the previous albums had. Taking Back Sunday had something to prove although their last album was generally well received, the criticism still piled up. Louder Now (honestly though, it can’t be too hard, can it?).
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