Several cuts acknowledge God in offhanded ways. One line on “Golden” wags an accusing finger at superficiality. Songs also condemn artists who exploit people’s pain (“Don’t You Know Who I Think I Am”) and a corrupt legal system monitored by media vultures (“You’re Crashing, But You’re No Wave”). “The (After) Life of the Party” seems to describe the vacuous, potentially deadly social lives of young celebrities.
A romance may be diseased and ready to flatline, but that doesn’t keep the singer from turning there for sex (“The Take Over, The Breaks Over”). Other soulless songs about empty sex include “Thnks fr th Mmrs,” “Bang the Doldrums” and “I’m Like a Lawyer With the Way I’m Always Trying to Get You Off (Me and You).” Mild profanity, drugs and a teen tryst scar “Hum Hallelujah.” The chorus of the single “This Ain’t a Scene…” repeats “g–d–n” numerous times. Preachers are simply religious salesmen on “Fame
Fall Out Boy takes a dim, selfish view of relationships and asserts that dysfunction and hostility are no reason to avoid sex. No wonder life is bleak. Despite a keen observation or two, it’s a downer lacking perspective.
After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.
