Breaking away from the album’s quick pace, the song “The kids aren’t alright”, while not altogether a slow song, is one of the album’s more toned-down tracks. It is reminiscent of Fall Out Boy’s Infinity on High days. Another song which seemingly breaks away from the fast pace of the album is “Jet pack blues”, which starts out misleadingly slowly, until it explodes into a heartfelt, forceful chorus, while the lyrics portray a man remembering a lost love.
The fast pace is quickly picked up again with the song “Uma Thurman”, a soulful track which refers to the iconic scene in Quentin Tarantino’s 1994 film Pulp Fiction in which Thurman dances with John Travolta. The song also samples the theme song of the 60s American sitcom The Munsters. It captures a different side of the band’s sound and adds an almost bouncy atmosphere to the album.
The pace of the album is quickened even further by the track “Novocaine”. The song’s intro creates a wild and reckless atmosphere, and its distorted tone dies down towards the chorus without abandoning its rapid pace.
The exotic intro to the song “Fourth of July” eases into a steady guitar accompaniment as this song mimics the fireworks it references, while the robotic bridge on the track “Favourite record” makes it one of the album’s standout tracks.
“Immortals”, perhaps best known for its feature during the end credits of the movie Big Hero 6, is a song that is not shy to hide that it is anything but the punk-preaching sound that Fall Out Boy were so well known for in their early days, yet it shows positive progression and is once again a sign that the band will never truly stop being their rebellious selves.
American Beauty/American Psycho closes with the potent track “Twin skeletons (hotel in NYC)”, which ends off with awe-inspiring choral vocals, which is sure to leave fans yearning for another listen.
While American Beauty/American Psycho deviates from the band’s signature sound, just as their 2013 album Save Rock and Roll did, it is clear to see that Fall Out Boy are not ready to give up the rock scene just yet, and perhaps the rock scene is just as reluctant to give up on them.