17. After Laughter / Paramore

After Laughter is an undeniably hooky escape from depressing news feeds, even if the subject matter is often depression itself.  Haley Williams reflects on aging, anxiety, and depression, masking her paralysis with clever lyrics and buoyant energy (“I’m going to draw my lipstick wider than my mouth”).  It is apparent that she has battled with noonday demons, and her descriptions, understated and succinct, are the perfect foil to the band’s otherwise exuberant playing.

There is something uniquely empowering about singing through hard times against the countervailing force of sunny-sounding music.  Michael Angelekos (Passion Pit) comes to mind as another songwriter that has masterfully described mental health issues against a bright-colored backdrop.  Many bands have attempted the transition from rock to keyboard-inflected pop music, but few are as successful as Paramore's welcome foray.  Justin Meldal-Johnson produced the record alongside guitarist/bassist Taylor York, who does zippy work track after track.  Meldal-Johnson's retro-synth bona fides (Beck, NIN, M83, Air) can be traced throughout this glossy affair, however, wisely, the songs never abandon York's crisp and biting fretwork.

Having pigeon-holed Paramore as third-generation emo-rock for teeny-boppers, the band’s fifth album pushed The D Man’s buttons and afforded better appreciation for Williams and her considerable talent as a frontwoman.  She absolutely captivates while singing over layered and bouncy 80s synths; the electro-pop revival suits the band and her naturally peppy and vivid vocals.