Scott's Song by Song #18-- Twenty-One Pilots: Blurryface

 Originally posted to Facebook on January 27, 2025

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https://www.facebook.com/share/1AQmLRSwiS/

Welcome to issue #18 of Scott’s Song By Song (#scottssongbysong).For more information about this series, click here: https://www.facebook.com/share/Gc2VkwHQWGLdeaDd/?mibextid=oFDknk

Today I’ll be reviewing “Blurryface,” by Twenty-One Pilots (21P). As you may recall, 21P were the band featured in #scottsspotlight #1 back in September of 2024. To find out more about them click on this link: https://www.facebook.com/share/p/19w9F6uB18/ . But basically, outside of the first album, they are a duo consisting of singer/songwriter, multi-instrumentalist Tyler Joseph and drummer Josh Dun. They are often referred to as “Emo,” or “Alternative,” etc (see the spotlight) but I consider them art rock such as Bowie, Talking Heads, Brian Eno, Sparks, Roxy Music and such, just with a 21st century vibe. To me, this album truly illustrates why I consider them such.

“Blurryface” was released in 2015, and is centered around the concepts of mental health, insecurity, doubt and religion. EVERY track on the album has received a gold or higher certification from the RIAA for digital streams and or downloads of 500,000 or more, and is the first album to achieve such a milestone. The title “Blurryface” represents Tyler Joseph’s anxiety and insecurities, and he wears black paint on his hands and neck to help him get into character on stage and in music videos.

Let’s jump in:

Track 1 - Heavydirtysoul

We begin with feedback and other effects, and are soon joined by Dun’s uptempo funky drumbeat then Joseph’s rapid fire rapped lyrics.

There's an infestation in my mind's imagination

I hope that they choke on smoke 'cause I'm smoking them out the basement

This is not rap, this is not hip-hop

Just another attempt to make the voices stop

Rapping to prove nothing, just writing to say something

'Cause I wasn't the only one who wasn't rushing to say nothing

This doesn't mean I lost my dream

It's just right now I got a really crazy mind to clean

At around 30 seconds into the song the beat stops and the tempo slows down and Joseph begins singing:

Gangsters don't cry

Therefore, therefore I'm

Mr. Misty-eyed, therefore I'm

Then he begins the ultra catchy chorus:

Can you save?

Can you save my…

Heavy dirty soul (repeat)

For me….

The sections continue in this manner again. But then at 2:05 there is a glorious halftime section that reminds me of Rush, when they go to a halftime feel in “Marathon.” The next lyrics for the following bridge are “Death inspires me like a dog inspires a rabbit.” This is not mindless pop music. A chorus returns. Incidentally the verses are in a minor key while the choruses are in a major key The big minor key halftime part returns after the chorus. It really sounds huge The chorus is superimposed over that with variations, then the music almost literally grinds to a halt. Great track.

Track 2 - Stressed Out

This begins with a cool mid-tempo drumbeat, a reggae accent and a simple bass line. The first verse refers to the difficulty of writing songs that are truly original and about things no one has written about before. However it is the last lines of the verse along with the pre-chorus that really tell the story here:

I was told when I get older, all my fears would shrink

But now I'm insecure, and I care what people think

My name's Blurryface and I care what you think

My name's Blurryface and I care what you think

As the father of a young adult, I can relate quite well to what he is feeling here. Gen Z has a phrase that says “adulting is hard.” And before my fellow old geezers chime in and say “It always has been, get on with it and deal with it,” I do believe it is harder for the young adults today to do that than it was back in the early 90s when I was that age. But I digress, this is an album review, so I’ll get off my soapbox. Remember that “Blurryface” is Tyler Joseph’s anxious alter ego, and here he is rearing his head. The chorus follows with:

Wish we could turn back time

To the good old days

When our mama sang us to sleep

But now we're stressed out

The second verse refers to certain smells triggering memories. Then there is the bridge:

Used to play pretend, give each other different names

We would build a rocket ship, and then we'd fly it far away

Used to dream of outer space, but now they're laughing at our face

Saying, "Wake up, you need to make money, " yeah

The outro manipulates lines from the bridge with a processed bass voice, and with the words mixed up so that sometimes says “we used to play pretend money.” Cool track.

Track 3 - Ride

Dun has a great syncopated drum beat here along with another reggae influenced groove to start the song off. One of the things I really like about 21P are the live drums. Joseph might possibly be able to produce these songs on his own with a drum machine, but the real drums (albeit from a minimal drum kit) give a real life to the tracks. I love Joseph’s vocal melody here. The lyrical theme of this one seems to be trying to decide who, if anyone is worth taking a bullet for, and who might take one for you. The chorus says (in a stylized way) “Woah, I’m falling, so I’m taking my time on my ride.” There are great layers of music here during the verses, but on the chorus, its minimal, with the music fully kicking back in on the word “ride.” The bridge repeats the phrase “I’ve been thinking too much-help me.” There are many variations on the verses and choruses. Joseph hits a huge, sustained note at 2:54. The production on this song and the album as well as the album as a whole is just fantastic. The line from the bridge returns with only piano accompaniment at first, then with drums for a moment, before ending on an a capella “help me.”

Track 4 - Fairly Local

I don’t know this one as well as some of the others. This begins with a slower tempo drumbeat and various synth sounds and effects. His vocal tone is darker and more sinister sounding than he usually sounds. I’m wondering if he is responding to past critics here. I’m not as crazy about this one. There are some nice interludes here and there, but it doesn’t do as much for me. He seems very angry here.

Track 5 - Tear in My Heart.

This is tear as in rip, not as in what happens when you cry, for clarity. Now I DO like this one! It begins with a great piano and drum groove that pauses frequently. It is insanely catchy. The opening lyrics are fantastic. “Sometimes you gotta bleed to know that you’re alive and have a soul.” However he needs someone else to help him do that (metaphorically). This song has so many great lines–”The songs on the radio are OK, but my taste in music is your face!” His girl is the “Tear in his heart,” that helps him feel things. Then, his mind wanders and we get this bit of wisdom…(With a Beatlesque beat, as in “Getting Better,” or “Good Day Sunshine.”)

You fell asleep in my car, I drove the whole time,

But that's ok, I'll just avoid the holes so you sleep fine,

I'm driving here I sit, cursing my government,

For not using my taxes to fill holes with more cement.

He sings it solo the first time, then harmonizes it the second time. It’s really great. The arrangement of this song may be one of the best on the album. Following that, there is a quieter reiteration of the intro. The synth parts in this song are wonderfully orchestrated. He throws another lyric in near the end that can be easily missed if you’re not listening carefully: “She’s a butcher with a smile.” GREAT SONG! If you want one to start with, pick this one.

Track 6 - Lane Boy

So we come back to a more reggae groove on this one after the Beatlesque feel of the previous one. Lyrically, it reminds me of “Go Where You Wanna Go,” from the Mama’s & the Papa’s. The “man” is telling them to “Stay in your lane, boy” but they “Go where we want to,” but I believe it is aimed more at the music industry, than at the older generations as a whole. Basically they have to be true to themselves. Maybe there is a bit of the same sentiment that Spock’s Beard sings about in “The Great Nothing.” Yeah, this one is a bit more rap than some of the others, but they get their message across well. There is an interesting “breakdown” in the middle of the song. The groove Dun lays down is amazing, then they put the chorus over the fast tempo. It comes back down briefly, then back up.

Track 7 - The Judge

This begins with some quiet sound effects, before a jaunty ukulele takes over. The vocals begin with some “na-na’s” and “oh-oh’s” before the first verse begins. The drums and bass kick in at the 1 minute mark. The chorus has to do with pleading his case to the judge, and to be set free. The tempo increases at around 1:30, and a nice organ part joins the mix as more nonsense syllables are sung. The second verse begins with a different groove underneath and the lyric: “Three lights are lit but the fourth one’s out.” There seem to be many interpretations of the song’s meaning, so far be it for me to say. I know that I really like it and the lyrics are very interesting. The bridge has a slightly heavier feel instrumentally, and the lyrics may be the most telling of all:

I don't know if this song

Is a surrender or a revel

I don't know if this one

Is about me or the devil (repeat)

There is a really cool set of triplet notes with odd accents coming out of the bridge. Then there is a slightly slower 4-4 section with a mostly instrumental section featuring a quirky synth sound.along with some “ohhh’s”. The groove continues on while he sings:

You're the judge, oh no

Set me free, oh no

You're the judge, oh no

Set me free, oh no

I know my soul's freezing

Hell's hot for good reason (Oh)

So please (Ooh-ooh)

Eighth note piano chords take over following that part. Then a new drumbeat comes in while he sings catchy nonsense words, the part about “You’re the Judge, set me free" is layered over that. Great vocal arrangement! It seems like the song has ended but there are still 25 seconds left. They do run out in silence. Maybe they wanted a longer gap before the next song begins. I don’t know, but I DO know that I think that’s one of the best songs on the album. Lots of interesting musical twists and turns. Wonderful track!

Track 8 - Doubt

An 80s sounding synth starts us off here. The drums enter at 15 seconds, then they go into a bit of a hip-hop groove. He raps the verses and sings the choruses. He is imploring someone to “don’t forget about me (repeat), even when I doubt you, I’m no good without you.” This song is much more stark than some of the others. It’s not one of my favorites on the album. There is a good vocal arrangement near the end however that helps it out a bit.

Track 9 - Polarize

This one is also a bit more hip hop influenced. The lyrics, of course, have a lot going on. I do like this one better than the one before it. There is a shift at around 2 minutes to a different groove. These lyrics intrigued me:

Domingo en fuego

I think I lost my halo

I don't know where you are

You'll have to come and find me, find me

“Domingo en fuego,” literally translates from Spanish to English as “Sunday’s on fire”; possibly a reference to fallen religion. The chorus has grown on me as the song has proceeded:

Help me polarize, help me polarize, help me out

My friends and I have problems.

Which is a very catchy cry for help. A church organ takes over and he says:

I wanted to be a better brother, better son. (repeat).

As the song reaches a conclusion. This one got better as it went on.

Track 10 - We Don’t Believe What’s on TV

This one starts with a snare drum part that reminds me of Sweet’s “Ballroom Blitz.” But then a very quick set of ukulele chords comes in. When the rhythm section takes over it’s almost a polka! Interesting chord progression. I love it! The arrangement of this one is very clean–just ukulele, bass, drums and vocals, but it really works. The tempo slows down occasionally then he shouts “yeah, yeah, yeah” before the tempo kicks back in. These lyrics are interesting to me:

I need to know

That when I fail you'll still be here, mmm

'Cause if you stick around, I'll sing you pretty sounds

And we'll make money selling your hair

I don't care what's in your hair

I just wanna know what's on your mind

I used to say, "I wanna die before I'm old"

But because of you, I might think twice…

As crazy as it sounds, the song is really fun! A big :Yeah, yeah, yeah!” brings the song to a finish.

Track 11 - Message Man

This one begins with a 60s organ sound. A cool syncopated drum beat takes over. Then it turns to a reggae beat. Lots of lyrics go by pretty quickly, but the tagline is “Please use discretion when you’re messing with the message man.” The next keyboard sound sounds like an 8-bit video game. The music rarely stays on one groove for long. There are some truly interesting sound manipulations near the end of the song. Very artsy track.

Track 12 - Hometown

Piano and synth strings accompany a vocal track with a lot of effets on it as this one opens. An 80s synthpop groove takes over. A simple but effective guitar part joins in for the chorus, then the sound gets bigger. The chorus says:

Where we're from, there's no sun

Our hometown's in the dark

Not sure if that’s an actual reference to Columbus, Ohio or not, but there are many ways to interpret it. I like the bass line at around 2:50. There are some interesting musical textures on this one. Not my favorite from the album, but not bad.

Track 13 - Not Today

Muted, staccato unison guitar and bass start us off here. The opening verse follows:

I don't know why

I just feel I'm better off

Staying in the same room I was born in

I look outside

And see a whole world better off

Without me in it tryin' to transform it

The groove changes to something between “My Girl,” and “Sugar, Sugar.” Then he admits:

Listen, I know

This one's a contradiction

Because of how happy it sounds

But the lyrics are so down

It's okay though

Because it represents, wait

Better yet, it is

Who I feel I am right now

Great lyrics! After a chorus of:

You are out of my mind, oh

You aren't seein' my side, oh

You waste all this time tryin' to get to me

But you are out of my mind

The groove changes again to staccato eighth note organ chords and hand claps, with a key change. Then he sings:

Heard you say, "Not today"

Tore the curtains down

Windows open now, make a sound

Heard your voice, "There's no choice"

Tore the curtains down

Windows open now, make a noise

(I know I am quoting more lyrics than I usually do, but that is really the foundation of the songs on this album, along with the fantastic musical textures.) The bridge follows and it is very dramatic to the point that it wouldn’t sound out of place in a Broadway musical. The lyrics cycle back through with some variations, such as he changes “you’re out of my mind,” to “I’m out of my mind. “ At around 2:20 the music changes again! The music is very rich and warm with a horn section and beautifully layered vocal “oohs” Then by 2:45 the dynamic drops way down. He sings the “You are out of my mind" part with nice subtle keyboard backing. The music gets big and full again on the “Heard you say,” part. Then there are great vocal lines on a “Ba ba bah,” type thing and the song ends on almost Beatle-esque harmony “oohs” Great track.

Track 14 - Goner

The closing track starts with a somber piano part. He sings “I’m a goner, somebody catch my breath…” At around 1 minute a snare drum begins to build on steady eighth notes against the syncopated piano part. It stops for the next verse in which he sings “I’ve got two faces, Blurry’s the one I’m not (repeat)...I need your help to – take him out (repeat)” The snare begins to build again. Bass joins in and it becomes more and more intense. I keep feeling like it's about to explode, but it doesn’t. A painful, almost tearful lyric of “Don’t let me be gone…” comes in; it's gut-wrenching. But then here’s the explosion. With no build up, when he screams “DON’T LET ME BE GONE!!” The music gets heavier and heavier and he’s screaming with every ounce of his soul, until the final line, until on the final line, he starts loudly on “I just wanna be known by…you” with the you sung softly and nearly a cappella. What a roller-coaster of emotions THAT was!

OVERALL IMPRESSIONS:

I’m still catching my breath from the final track Overall a very strong album. Again, it’s not prog, but it is very artistic! I like some tracks more than others, but none are awful. My favorites are “Heavydirtysoul,” “Stressed Out,” “Tear in my Heart,” “The Judge,” and “We Don’t Believe What’s on TV.” I hope some of my proggy people will give this a shot. It might take some time to get into it, but I think it’s worth it. I’ll give it a 4.25 out of 5 stars.