Twenty One Pilots’ latest work, “Blurryface” is nowhere near as fresh as their third album, “Vessel,” making “Blurryface” somewhat underwhelming in comparison. Several tracks succeed, however, and the album’s thematic cohesiveness serves it well.
“Vessel” boasted gems like “Car Radio,” a track with an incredible mixture of rap-style lyrics, EDM supporting sounds and a heart-pounding bass drop that set the dance floor ablaze at live shows. Both the beats and lead singer Tyler Joseph’s stunning vocals are more subdued in “Blurryface,” although several acoustic-style tracks feature Joseph’s honest tone and quirky ukulele, like “We Don’t Believe What’s On TV.” None are as endearing as the previous record’s “House of Gold,” though, except perhaps “The Judge.”
The duo’s lyrics are almost as emotionally provoking and empathetic as in their earlier albums but with a shift toward a broader focus. On one of the album’s most popular tracks, “Stressed Out,” for example, Joseph sings about adulthood: “Now I’m insecure and care what people think.”
“Vessel” showcased Joseph’s struggles with mental illness in a very personal manner. The tunes create an atmosphere of tragedy and triumph with Joseph as the story’s hero. His very distinct voice closes the gap between artist and audience, exuding honesty and a genuine desire to establish an emotional connection with listeners.
“Blurryface” loses that element partially as Joseph’s vocals blend into a fuzzy background, now mostly punctuated with fake beats instead of with drummer Josh Dun’s passionate, heavy progressions. However, the earth-shattering track “Goner” that closes the album deserves praise. “Goner” holds all of the elements that made “Vessel” such a special album. With thought-provoking lyrics – “I’m a goner, somebody catch my breath / I want to be known by you” – heartfelt simplicity and a dramatic, teasing build, “Goner” elicits both nostalgia for “Vessel” and hope for “Blurryface.”
This album’s lyrics are surprisingly meta, as several songs make statements about themselves and the album as a whole. For example, Joseph sings in “Not Today” that the song is “a contradiction because of how happy it sounds, but the lyrics are so down.” Rather than contributing to the album, these startlingly self-aware moments sound strange, increasing the gap between artist and listener. Deeper analysis of the album’s lyrical content may shed light on this mechanism and its purpose in communicating the boys’ ideas and feelings, but it fails on the surface.
Aside from these relatively disappointing traits, Joseph and Dun must be thoroughly commended for their portrayal of mental illness through music. The fact that the mental illness plays a central role in their music shows the band’s desire to raise awareness for the seriousness of illnesses like depression and anxiety and highlights the importance of self-expression. These themes maintain a strong presence throughout this latest album, although without the same impact as “Vessel.” With a few thorough listenings, fans can find relatable bits of wisdom as Joseph and Dun showcase their emotional awareness and struggles.
Every album has its ups and downs, and “Blurryface” is no exception. A disappointing effort from the artists responsible for “Ode to Sleep” and “Addict with a Pen,” Twenty One Pilots’ fourth album falls flat, despite presenting fans with several strong tracks like “Stressed Out” and “Message Man” that will be onstage favorites for performances to come.
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