In the album, P!ATD shows off its new 1980’s leanings with heavy use of synth and electric drums. While the band mostly manages to use these inspirations well, particularly in the tracks “Vegas Lights” and “Far Too Young To Die,” they also lead to the album’s biggest disappointment, “Girl That You Love.” This monotonous and repetitive song sounds flat and adds little to the album; with its overbearing drumbeats and odd synth effects, the song combines every aspect of 80’s music in a hard-to-listen to mish-mash– think Depeche Mode trapped in a cheesy horror movie. Even worse, the auto-tuning in the song does little to honor Urie’s powerhouse of a voice.
The best songs on the album showcase the deep level of introspection and emotional honesty that Urie’s songwriting can achieve. “The End of All Things,” possibly the first ballad the band has ever delivered, is a notable example (Urie wrote the song for his wife before their marriage). Combining Imogen Heap’s lullaby-like qualities and Urie’s ability to produce complex harmonies, “The End of All Things” is the perfect closing for the record because of its simple, bare-bone lyricism and its ability to put the album to rest.
Despite one or two slip-ups, the album is largely satisfying and appeals to both the carefree, dance-floor partygoer and the angst-ridden teenager in all of us. With just the perfect mix of glitz and grime, Too Weird To Live, Too Rare To Die! is a testament to P!ATD’S versatility.