2004, the birth of Paramore, and consequently the rise in sales of orange hair dye, as teenagers far and wide marvelled at the voice who was soon to shape their youth. But, almost two decades later, the former redhead has been stripped down with bleach, toner and floral essences, as Hayley Williams embarks on a new journey, releasing her first solo album ‘Petals For Armor’.
The ferocious yet desperately dainty vocals of Williams have been the powerhouse behind Paramore’s brand for almost two decades. The female front woman has been an icon to ladies all over the world, in an industry dominated by men, the success this woman has achieved through her vocals alone is admirable at the least. No matter how much Paramore’s style has changed throughout the years, there is always something to keep old and new fans grounded, and that’s the unmistakable voice of Hayley Williams.
The band’s last album, ‘After Laughter’ in 2017, established the dictionary definition of an oxymoron. Flourishing in neon-hues and bursting with eighties inspired pop anthems, the record left old school Paramore fans puzzled but introduced them to the concept of fun music, whilst at the same time, the prior rock band, entered into the playlists of Capital FM listeners. Although the album grew in floor fillers, it lacked in happiness as Hayley Williams admits in an interview with NME, “I would say for a good half of that album, I was really in denial of my depression.”. Without a doubt, the record was a triumph and warmed the hearts of many, however it was a bleak ending for Williams, a part two was mourned for.
Reflecting on death, divorce and her newfound vulnerability, ‘Petals For Armor’ isn’t comparable to anything else. The album encapsulates a side of Hayley Williams none of us have seen before, as she invites us into her diary of trauma, desolation, and growth for 55 minutes. Lead single, Simmer, fell into the laps of eagerly anticipated Williams fans back at the very start of this year, and as a result, left ex Paramore fans and spectators of the freshly bloomed artist hungrier than ever before. The moody track is a layered odyssey of gorgeous echoes, which grounds the possessed energy felt from the Misery Business singer’s reflection of her troubled past years. Williams spiraling words “Wrap yourself in petals for armor” is enough to send listeners into a hypnotic trance, until the rage kicks in again to awaken the spectators, but too soon the roller coaster is over.
Taking a further step back from her previous work, track three Cinnamon is a risky experiment which illustrates Hayley’s growth and development in the bizarre-est of ways. Broken moans and restless drumbeats initiate the piece, all whilst Williams reveals her eerie morning routine which is dominated by the smell of that one spice. It’s true, the musician has conveyed her overpowering anxiety of living alone through the music video of this track, which takes on the imagery of a modern-day Bjork. Hayley tentatively creeps around her own home, feeding the fear that something is following her, which we later find out is in fact some bendy figurines dressed in morph suits. The video later follows a Kubrick-esque production state, it’s surreal but a figure of beauty, but I won’t give too much away.
Part two of the album begins with Dead Horse, the protagonist track of the album, which explicitly paints the torment and parallels of Hayley William’s toxic relationship with her ex-husband. “I was in a depression, but I’m trying to come out of it now” Williams regretfully admits at the initial ceremony of the song, but however taken aback you may be, this is not a ballad. Incredibly, Hayley channels her anger and upset into an edgy pop song, with a friendly bass line entering and dripping synthesizers, the track is bouncy and bewitchingly catchy. I would genuinely find it hard to believe that anyone could not applaud the artistic techniques put into this song. It’s remarkable how a musician has managed to encompass social challenges including mental illness and domestic abuse into a pop song without it being mournful and sad, bravo Hayley Williams.
As the record continues to spin, we dip and dive into dreamy Florence and the Machine dynamics in Roes/Lotus/Violet/Iris, edging into hallmarks of Dua Lipa in Pure Love and a phenomenal resemblance to Madonna’s Vogue in pre-penultimate track Sugar On The Rim. Each track is a pocket of surprise for listeners throughout the album, as Williams remains to discover her new unique musical style whilst recalling past memories and looking forward to her beaming future.
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