With their eighth studio album, 2023's ebullient So Much (For) Stardust, Fall Out Boy fully re-embrace the emo and punk-pop dynamism of their classic work. It's a soaring style they've been threatening to unleash ever since returning to regular activity following their hiatus after 2008's Folie a Deux. Although their subsequent follow-ups like Save Rock and Roll, American Beauty/American Psycho, and Mania all topped the Billboard 200, the albums found the band experimenting, throwing their songs into a production blender of ...
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With their eighth studio album, 2023's ebullient So Much (For) Stardust, Fall Out Boy fully re-embrace the emo and punk-pop dynamism of their classic work. It's a soaring style they've been threatening to unleash ever since returning to regular activity following their hiatus after 2008's Folie a Deux. Although their subsequent follow-ups like Save Rock and Roll, American Beauty/American Psycho, and Mania all topped the Billboard 200, the albums found the band experimenting, throwing their songs into a production blender of contemporary pop, hip-hop, and EDM sounds. Without ever sounding too much like a throwback, So Much (For) Stardust has a homecoming feeling, as if Fall Out Boy are getting back to their rock roots. It's a vibe that's underlined by the presence of producer Neal Avron, with whom they recorded the core of their most beloved albums, including 2005's From Under the Cork Tree. From the start, there's a balance of measured craftsmanship (they purportedly took their time in the studio) and big melodic hooks, all effusively delivered by singer Patrick Stump. It's an infectious combination the band perfect on the opening "Love from the Other Side," a song ostensibly about dealing with (and perhaps being the cause of) a bad breakup. That said, it could just as easily work as a metaphor for the group's attempts at transforming their sound coming off the emo highs of the early 2000s. Early in the song, Stump admits, "We were a hammer to the statue of David." There's a bittersweet nostalgia implied by the song, as if the band are looking back on their career and taking stock of where they (and by proxy their fans) find themselves in a post-emo, post-pandemic world. They return to that sentiment on "I Am My Own Muse," where Stump, bellowing against a symphonic string bombast and guitarist Joe Trohman's fiery riffs, sings, "Smash all the guitars 'til we see all the stars/Oh, we've got to throw this year away like a bad luck charm." This kind of bold rock affection drives much of the album, as on the '80s AOR of "Heartbreak Feels So Good," the Queen-meets-Michael Jackson post-punk stomp of "Hold Me Like a Grudge," and the dreamy new wave romanticism of "Fake Out." Adding to the emotional push of the album are several unabashed musical and pop-cultural references, including the Earth, Wind & Fire intimations of "What a Time to Be Alive," the Don Henley "Boys of Summer" flourishes at the center of "The Kintsugi Kid (Ten Years)," and even a snippet of Ethan Hawke's soliloquy about the meaning of life from Reality Bites in which his character offers up the adage "It's all just a random lottery of meaningless tragedy in a series of near escapes." Whether that's how Fall Out Boy feel about their career or not, So Much (For) Stardust is a gloriously welcome return to form. ~ Matt Collar, Rovi
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