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o listen to Paramore is, at least for a non-observer of the genre, to learn how little so-called "emo" has changed over the years: the stop-start choruses, chunky strummed basslines, multi-tracked backing vocals, quick dips into sodden balladry�all part of a structure in place since the early '00s heyday of Taking Back Sunday and Coheed and Cambria. It's also an opportunity, at least on Brand New Eyes, to hear how these tropes, while not made new or even subverted, can still yield relatively impressive results.
Paramore imposes a lot of small twists on the emo formula, which helps to maximize its...
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