The All-American Rejects - When The World Comes Down reviews
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| Altpress |
 The All-American Rejects have stayed busy in the three years that have passed since the release of Move Along. Aside from touring, they've collectively launched record labels and clothing lines, acted for TV and film, played on other bands' albums and even hopped in the producer's seat. Yet somehow, the band managed to keep a relatively low profile in the year-plus time they've spent writing and recording their third full-length, When The World Comes Down, for the most part avoiding the paparazzi blitz experienced by some of their peers.
Pet projects haven't been the only change in the past three years; the music scene is an entirely new landscape, with dime-a-dozen pop-rock bands, many of whom are directly influenced by AAR, dominating the scene (we're looking at you, Boys Like Girls and We The Kings). The Rejects--vocalist/bassist Tyson Ritter, guitarists Nick Wheeler and Mike Kennerty and drummer Chris Gaylor--needed their new disc to make a pretty big statement, proving that the "elder statesmen" are still originators, not imitators. Fortunately for them, When The World Comes Down comes out on top....full text |
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| Boston |
| A 4/4 gait, a vast store of amorphous angst, and an ascendant chorus, preferably in a major key. That's the formula for writing a killer pop-punk anthem, and many bands do it well, but only a couple do it with the kind of consistency that presages a serious career. Fall Out Boy is one. The other is the All-American Rejects, the Oklahoma quartet behind the multi-platinum 2005 disc, "Move Along." (The Rejects have been planted on the Billboard 200 chart for an astonishing 100-plus weeks.) If sonic similitude is any indicator of future successes, "When the World Comes Down" will only cement the band's top-of-the-heap status. "Believe" is a barnstormer of a ballad; "Another Heart Calls" traffics in pleasant mush. And "Gives You Hell," the album's first and best single, has a cathartic, smear-it-in-your-face conceit: "You're still probably working at a 9-to-5 pace," frontman Tyson Ritter snarls. "I wonder how bad that tastes." The song is aimed at a nameless gal - with, ahem, very bad timing - who dumped Ritter before he got all rich and famous and started wearing tight striped pants on stage. Still, it's a perfectly serviceable tune for anyone who's ever been booted to the curb. (Out tomorrow)...full text |
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| Nytimes |
Keyshia Cole didn’t invent an alias on this, her third album, but perhaps she should have. After all, Beyoncé’s recent attempt at a split identity, Sasha Fierce, was but a hypertrophied version of her longstanding personality, whereas the side of herself that Ms. Cole displays here feels much more like an actual character.
Or perhaps a caricature. On her first two albums Ms. Cole was one of the most textured singers in R&B, one of the few brave enough to use a young Mary J. Blige as a template and, at times, improve on it. In her songs relationships are flimsy or worse, and their impact is felt in Ms. Cole’s powerful, unchecked voice. On “Love,” the signature heartbreak song from her first album, she sounded as if she was coughing out the words, barely holding the notes in between tears....full text |
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