On Friday, the hip-hop infused alternative duo Twenty One Pilots released its highly anticipated fourth studio album, Trench.
Many speculated the record would be a full sell-out to pop radio because of the band’s effort to make its previous record, Blurryface, a mainstream success. In one of the verses in “Lane Boy,” lead singer and lyricist Tyler Joseph admitted that some of the songs on the record are “common.”
Trench, however, is anything but predictable. Where Blurryface incorporated loud drum solos from Josh Dun and high-tech, fast-paced production, Trench has a slow, relaxed indie touch. Where Joseph spits quick rap verses in Vessel, he whispers haunting chants in Trench.
Vessel remains Twenty One Pilots’ best record because it is untainted by the opinions of a large portion of public and elite critics who didn’t know the band’s name at the time of production of its second album. But Trench manages to maintain some aspects of what makes the duo special.
“Neon Gravestones” is a highlight because it finds Joseph struggling with the same demons that created a tight-knit cult following for the band. The teenagers batting depression who lifted the duo to alternative fame are grown up now, but so is Joseph. The happily married frontman still shares the same emotional connection to his pool of adoring fans because they have grown and conquered together.
The track is also vital to the record as a rare political statement from Joseph. He looks past his personal struggles and makes a firm statement against the glorifying of suicide. Joseph begs listeners to have respect for the legacy previous generations have left behind and to at least attempt to understand that life is a gift that should be appreciated.
His old soul shines through in “Legend,” as well. The track tells the story of Joseph losing somebody close to him. The love and pride in his voice carries through the speakers. He concludes the ballad by declaring his faith that they will meet again in the afterlife.
Those two tracks will probably never see radio play, but the best ones never do; they are a gift to the true fans.
“Smithereens,” on the other hand, feels like a potential single. It appears to be a sequel to “Tear in my Heart,” a love song to Joseph’s wife. The track exposes the lighter, comical, but still, a self-deprecating side to Joseph. In “Smithereens,” Joseph promises his wife that he would step up to fight a man twice his size with the full force of his 153 pounds.
Burying deep messages in the music has always been Joseph’s primary skill as a writer. He keeps this quality in his new, experimental work by creating a sort of concept album. The recurring themes of jumpsuits along with the character of Joseph’s creation, Nico, help to tie the storyline together.
The album title is fitting because it chronicles Joseph's journey through the trenches of his deepest fears. Waging wars to escape his depression and anxiety, while encouraging others to keep fighting as well.
