Grade: A- | Genre: Rock/Pop/Dance Summary: A Fever You Can't Sweat Out marries rocktastic beats with a dance floor that refuses to silence the pulse of gyrating bodies. These songs are the fuel to the fire. Rock may try on as many different variations as Michael Jackson's face, but you can always guarantee it will never be too far removed from its kissing cousin addictive pop. Be it Foo Fighters or recent radio fodder Fall Out Boy, creating that surefire radio hook is the key to cementing your tune in the minds of the fickle music listening public. Usually I lampoon these ruthless media hounds for feeding the soulless music machine, but every so often you run across an artist that wrestles this pale formula to the ground to grind up some quality where you were certain that none existed. The smart band that has done the unthinkable is Las Vegas quartet Panic! at the Disco. They are the first band signed to Pete Wentz's (Fall Out Boy) Decaydance Records, and their debut effort A Fever You Can't Sweat Out marries rocktastic beats with a dance floor that refuses to silence the pulse of gyrating bodies. These songs are the fuel to the fire.

The group's first single "The Only Difference Between Martyrdom and Suicide is Press Coverage" insights the riot. An enticing lyrical loop "swear to shake it up if you swear to listen" spits from the speakers, recalling carefree life devoid of responsibility, bills or even the suffocation of music label's restraints. It's the raw power of innocence, blessed with desire. As the album opener, it aptly sets the pace as the resulting organized chaos unfolds. The secret of Panic! is slowly spilling out all over the nation's musical fabric as they've sold out every stop along their summer trek, lighting up the aftermarket with fantastic prices. Fever continues to inch up the Billboard charts and make new fans with every radio play. The songs are fresh and thrive in the skin of their own beats.

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The disk isn't without its occasional duds and peculiarities. The disk starts off with a filler introduction and takes a breather midway for a 2 minute intermission that serves as little purpose as Radiohead's hiccup "Fitter Happier" on OK Computer. Another all encompassing issue is tearing the songs apart in your mind. Maybe it's the dance influence, but these pieces cohere together so fluidly that it can be hard to highlight one track over the collection. Though in our single fed culture that can be read just as much as a crowning achievement rather than a criticism.

One of the real standout selections "I Write Sins Not Tragedies" lays claim to that manic energy as its neighbors with an extra lyrical bite on the part of Brendon Urie. It starts out with the unexpected "'what a beautiful wedding,' says a bridesmaid to a waiter./'Yes, but what a shame the poor groom's bride is a whore.'" which sets up the fiery explosion "I chimed in with a 'Haven't you people ever heard of closing the Goddamn door!'/No, its much better to face these kinds of things with a sense of poise and rationality." Urie nicely uses the lyrics to punctuate the beat patrol, emanating a feverous fusion, that help elevate these songs above the standard riff raff. The album is teeming with curious tunes that beg your attention. "But Its Better If You Do" is the best ode to the lap dance I've ever heard. "I Constantly Thank God for for Esteban" comes off as a flamboyant conductor of a gay men's church choir. The verbosely titled "There is a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of it Yet" almost sounds like the soundtrack to a turn of the century circus. Huh, you say? Nothing can be taken for granted with Panic! at the Disco. I mean what band since Wham! has the audacity to plant an exclamation point in their name?

Regardless, Panic! has the goods to stick around this party for some time if they don't buy into their own hype and see fit to define the next musical fad and not chase it like the rest of the radio dogs. Having seen them play the Tabernacle a couple weeks back I have to recommend that you rape, pillage or steal to get entrance into this show. Its like being swept back in time to a fusion of cabaret and vaudeville swirling about in the roaring 20s. The energy, theatrics, and showman ship were second to none and will definitely rank as one of my top three concerts of the year, if not taking top honors. Keep your eyes peeled for their tour supporting partners OK Go, which are brimming with potential.

Release Date: September 27, 2005