Mixed Reviews is a feature in which we examine recently released songs and albums with perspectives from two different reporters. Here, we review Paramore’s latest album “Paramore.”

Anjali’s take: “Still Into You” after a strong comeback

Considering that the last time I’d listened to Paramore was in the eighth grade, when emo, heavy eyeliner and pop punk were all the rage, it was time to give them another chance. It seems that we’ve both matured –– I’m no longer in middle school, and Paramore’s fourth studio album is classically self-titular.

In fact, the song “Grow Up” is appropriately named, reflecting maturity both in lyric and style. Lead singer Hayley Williams describes leaving behind the crazed, hormonal world of love and ending her relationship without drama. The music itself is a noticeable digression from the band’s former appeal to mainstream pop. A break from an overuse of autotune and the inclusion of more raw, screaming vocals and percussion clearly demonstrates Paramore’s growth and renewed dedication to alternative rock.

Yet, perhaps in an effort to maximize its audience, Paramore does not neglect pop entirely, and the track “Still Into You” shies away from dark intensity. Fast-paced guitar chord progressions are met with catchy lines that repeatedly declare the singer’s infatuation with her crush.

The music video for “Still Into You”, which premiered a day before the album’s full release on April 9, emphasizes a significant pop influence. The energetic love song captures a youthful vibe as band members ––  dressed in sunny colors –– happily play and laugh in a room full of balloons.

It is true that the playful music video may not be the band’s ultimate symbol of maturity. However, Paramore’s most commendable achievement in their latest album, is a synthesis of adolescent struggle and keen introspection. The band’s overall growth is epitomized in their ability to add depth and symbolism to the apparent superficiality of the young adult world, especially with the thoughtful lyrics of “Last Hope” and “Part II”, both of which address depression: “find me dancing all alone/to the sound of an enemy’s song.” The track “Anklebiters” demands a voice for these lost and confused souls.

Paramore used its four-year hiatus to the best of its advantage, and their fourth album is now number one on iTunes’ album charts. It offers a stylistic and lyrical diversity that resonates with the audience that has grown with the band since its rise –– and return ––  to popularity.

Yashashree’s take: The “Future” looks bright

Since the band’s inception in 2004, Paramore has managed to acquire a substantial fan base. After its first breakthrough when the 2008 song “Decode” was featured as the lead single for “Twilight,” the band has since moved on to successfully building its fan following, despite several lyrical missteps.

 Popularly acclaimed as a screamo and pop punk band, the band, in its latest album, “Paramore”, has made a conscious effort to step away from emotional hardcore –– or rather, emocore. Instead, it has made an attempt to feature a more varied selection of musical genres ranging from alternative rock to country pop and emo-pop.

The band’s target audience still seems to be limited to angsty teens who can relate to the cathartic emotional outbursts modeled through lead vocalist Hayley Williams’ exploding vocals. But mainstream popularity means that Paramore must include tracks such as “Daydreaming” and “Future”, which deliver typical “inspirational” messages: daydream “until the sunrise/that’s all we have.”

The album’s opening track, “Fast in My Car”, sets the tone for an upbeat, guitar-heavy soundtrack which delightfully transitions into a calm and uplifting sound by the fifth track, “Moving On.” This song features semi-country acoustics that depict breakups in a lighter fashion than do country pop singer Taylor Swift’s raging sentiments in her break-up (and make-up) songs. Unfortunately, the cursory lyrics lack a deeper emotional effect. Beside the lesson, “you’re not worth the fight/I’m moving on,” the lyrics are neither compelling nor insightful.

Challenging the repetitive beats and structure of mainstream music, the band also strives to feature lead guitar and sharper acoustics with “(One of Those) Crazy Girls” and “I’m Not Angry Anymore.” The controlled usage of alternative rock techniques reveals Paramore’s meticulous care in keeping the soundtrack balanced and free of metallic chaos.

Paramore had not produced an album since 2009 (“Brand New Eyes”) due to founding members Josh and Zack Farro’s departure from the band. Despite the band’s occasional frivolity and exceedingly hedonistic ideas, Paramore ultimately achieves a favorable ratio of mainstream appeal to original expression. This fourth album not only furthers the band’s versatility, but it also entertains a wider audience.