A band’s founding members leaving a band usually signals the end. However, Paramore has beaten the odds and bounces back with their self-titled fourth album. With a more poppy sound and redemption heavy lyrics, Paramore proves they can move on from the possibly devastating loss of Josh and Zac Farro.

The best way to describe this album is . . . confusing. The album’s sound bounces back and forth between pop, pop-rock, emo-pop, rock, and some odd arrangement of ukulele-backed interludes. The band borrows sounds from the 1980s with the heavy use of synths, yet also maintains modern flavor.  I have not heard an album this blended in quite some time.  Regardless of the sometimes befuddling blend of tones, the band somehow manages to create consistency. Hayley’s amazing vocals and the songs’ catchy choruses tie a string between each of the songs, attaching them together in a wonderfully odd mix of sound. Paramore genuinely created a new sound for their latest album.

However, the band’s transition to a new sound left their lyrics in a dark corner feeling underdeveloped and rusty. The album certainly has its shining moments, but when a song steps away from the shine, it’s disturbingly dull and cluttered with over-used clichés. Songs like “Fast in My Car,” “Proof” and “Still into You” bore lyrically although they may excite music wise. Josh Farro was Hayley’s main song-writing partner since the band’s first album (“All We Know is Falling”) and the absence of his song-writing strength is evident.

But when a song on the album shines, the song can light an entire room. Songs such as “Now,” “Part II,” “Last Hope” and “Anklebiters” have quite a few quotable lines, great music, and well-written lyrics.

Paramore’s self-titled album wistfully blends pop, rock, and emo-rock together in one loud, harmonious pot of sound. The lyrics of some songs lack quality, but there is no shortage of song that will put a smile on a listener’s face or have them humming along.