Vices & Virtues took over two years to create, and the increased time in the studio brought forth new musical experimentation.

The album's artwork was conceptualized by touring bassist Dallon Weekes, who was inducted as a full-time member of the band near the end of recording.

Preceded by its lead single, "The Ballad of Mona Lisa", the album debuted at number seven on the Billboard 200, selling 56,000 copies within its first week.

Former guitarist and primary songwriter Ryan Ross told NME the band had "nine or ten new songs going right now," which picked up in the same direction of Pretty.

"[5] The article explained that Walker said the band would be taking time off for the holidays and then re-entering the studio to record new music.

"[6] During this time, Smith moved in with Urie, while Ross began writing his own material with Walker at his home.

[8][9] The statement, in part, read: "Ryan Ross and Jon Walker will be leaving Panic at the Disco to embark on a musical excursion of their own.

Though the four of us have made music together in the past, we’ve creatively evolved in different directions which has compromised what each of us want to personally achieve.

Urie wanted the band to explore a more polished pop sound, while Ross — and, by extension, Walker — was interested in making retro-inspired rock.

"[15] While on the Blink-182 Reunion Tour, Smith showed Blink-182 singer/bassist Mark Hoppus several demos for the album, in hopes that he would produce a song or two.

producer Rob Mathes was "like family" to Smith and Urie, inspiring them to be excited to record despite the duo's initial beginning.

[14] After working with the demos produced during the summer with Feldmann for several months afterward, the duo decided they weren't satisfactory, so the band started over with new material.

[22] Near the end of the writing process, the band looked back upon the lyrics and noticed that "some of the motion was pining for something, or some of it was vanity, or some of it touched on subversion or overthrowing of somebody or manipulation."

For Vices & Virtues, Urie had "to step up and take the reins lyrically," which he regarded as having not much experience in prior.

"[18] "The Ballad of Mona Lisa" has been described by Alternative Press as "[having] the upbeat pop energy of A Fever You Can't Sweat Out, with the focus and clarity of Pretty.

"[32] "The Calendar", originally written about an intimate relationship between a male and a female, soon began to resemble the friendships in former members Ross and Walker; the song was finished as a direct response to their departure from the group.

due it not fitting within the concept of the album; Urie and Smith finished the song for Vices & Virtues.

[37] A behind the scenes video of the photoshoot revealed that Dallon Weekes, a touring only member at the time, featured on the album cover, masked and standing in the background behind Smith and Urie.

[38] On February 15, 2011, responding to eager public demand, the release date for Vices & Virtues was moved up to March 22 by the band.

[39][40] The single received positive reviews, many noting the similarity in sound to A Fever You Can't Sweat Out.

[41] The deluxe edition of the album includes the demo "Oh Glory", which was initially released via the band's official website in July 2009 as a 30-second sample.

[43] The nearly seven-minute mini-film, features Urie and Smith with a score of actors ranging from identical twins to a little people couple.

[43] In March 2011, the band began streaming the album in its entirety (with the exception of bonus tracks) from the official Panic!

[45] Vices & Virtues was released March 18, 2011, in the United States, Brazil, and Canada, as well as multiple other dates for other countries.

"Perhaps Smith and Urie's biggest success on Vices is their disinterest in simply recreating either of their previous albums, instead choosing to meld the youthful exuberance of their debut with the restraint and maturity of 2008's Pretty.

"The duo sound absolutely recharged, likely a result of the lineup shuffling, but also perhaps a realization that the '70s were a nice place to visit for a couple years, but life in the 21st century is much more fun.

William Goodman of Spin criticized Urie's lyrics of the album ("the result is verbose and generic diary-entry romance") but praised the musical experimentation, remarking, "Vices & Virtues's saving grace, though, is the varied instrumentation – marimbas, xylophones, accordion, synths, and digital atmospherics.

"[62] Jody Rosen of Rolling Stone concurred with Goodman and also focused positive opinion upon the arrangements of the album, recommending "Nearly Witches" and calling the album "emo retropop", commenting, "It's the closest emo has come to the sound of old-school pop and rock, with Beach Boys harmonies and even gypsy-style swing flavoring the usual hopped-up confessions.

"[61] Mikael Wood of Entertainment Weekly agreed with these sentiments, recommending "The Ballad of Mona-Lisa" and the "harmony-drenched" "Sarah Smiles".

Joining them for the jaunt were to be their labelmates fun., with Foxy Shazam and Funeral Party splitting duties as the third act on the bill.