TRACK LISTING 1. Introduction 2. The Only Difference Between Martyrdom and Suicide Is Press Coverage 3. London Beckoned Songs About Money Written By Machines 4. Nails for Breakfast, Tacks for Snacks 5. Camisado 6. Time to Dance 7. Lying is the Most Fun a Girl Can Have Without Taking Her Clothes Off 8. Intermission 9. But It's Better If You Do 10. I Write Sins, Not Tragedies 11. I Constantly Thank God For Esteban 12. There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet 13. Build God, Then We'll Talk

A Fever You Can't Sweat Out is divided into two halves, with an introduction beginning the first half, and a weird instrumental “intermission” marking the transition. According to Ross, the aim was for the first half to be futuristic and the second to be nostalgic.

I don't know if his description fits precisely, but the two halves of the disc are certainly distinct. The first, consisting of six tracks, is dominated by a blend of pop rock with a dash of electronica, while the second contains five songs that might be described as retro rock if it weren't for the inclusion of the accordion and theatrical piano.

The greatest thing about the album is that most of the songs are energetic and catchy, with hardly a moment to take a breath. It's lively from start to end, with enough variety that tracks don't start sounding the same. And yet the album progresses nicely, with the CD as a whole is an integrated offering that is not a disjointed mishmash.

The titles of the songs are quirky, and excessively long, like “The Only Difference Between Martyrdom and Suicide Is Press Coverage”, “Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off” and “There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet”.

The eccentric humour evident in the titles also often extends to the lyrics, but at times the lines can get caustic, as in “I Write Sins, Not Tragedies”, where Urie sings: “'What a beautiful wedding! What a beautiful wedding!' says a bridesmaid to a waiter / ‘And yes, but what a shame, what a shame, the poor groom's bride is a whore.' / I'd chime in with a ‘Haven't you people ever heard of closing a goddamn door?!'”

It's a fun, slightly idiosyncratic album that rocks from start to end, a definite winner and impressively original debut from a group full of promise.