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Every
once in a while, an album comes along that blows the mind, with
a refreshing originality and groundbreaking style that makes the
hairs stand up on the back of your neck; an album that keeps you
hooked from start to finish and makes you want to play it again
and again. You’ve guessed it – this is definitely not
one of those albums.
If there is one type of music I
really cannot stomach, it is the ultra commercial teeny orientated
post-grunge pretend ‘punk’ drivel that is unfortunately
so prevalent today. And this album is a prime example. The irritating,
hook laden riffs, the sounds-so-much-like-everyone-else vocals and
the angsty, whinging “I wish she was my girlfriend”-type
lyrics are all perfectly attuned to induce the sort of rage that
leaves CDs in fragments on the floor and speakers kicked in. I really
did not like this album, even the cover looks rubbish.
On a more positive note, I was impressed
that this is the work of a two-piece band – Tyson Ritter (crazy
name, crazy guy no doubt) supplying all vocals and bass with Nick
Wheeler on guitars/drums/keyboards/programming. I can’t wait
to see them live – I can only presume the guy has the drums
strapped to his back (a la Dick Van Dyke in Mary Poppins), strumming
the guitar while operating the keyboard with his feet.
Safe bet this album will be a success
– first single ‘Swing Swing’ is “nothing
short of brilliant” according to Rock Sound, and perplexingly
“stunning” according to heavy metal bible Kerrang. Unless
the complete sentence was “It is stunning that an album this
awful ever made it onto the pages of Kerrang”, then times
have definitely changed since the days of Anthrax and Iron Maiden.
If you’ve got spiky hair, massive silly trousers and a hooded
top, under sixteen and think you’re a ‘punk’,
this album is for you. For me, though, The All American Rejects
have more in common with Popstars than the Pistols, and I cannot
make my opinion of this album any clearer without being offensively
rude. [i.e. it’s cuntingly fucking shite].
words: Harry Harris
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