The All American Rejects’ first album is one of the best examples of emo. The band borrowed from classic power pop bands like the Raspberries and Big Star instead of the typical pop punk formula. The songs were simple, the choruses were memorable and the harmonies were tight. Tyson Ritter’s vocals had a cry that gave the songs emotional weight. The follow-up, Move Along, was not as strong, but contained a killer single in “Dirty Little Secret.” When the World Comes Down continues the decline.
The biggest issue with mainstream rock is the production, and the All American Rejects have officially succumbed. When the World Comes Down sounds like an album made in 1985. It’s clean, septic and utterly soulless. Electronic drums should never be used by a rock band, but they are everywhere. The organ that added a gospel flavor to “Swing Swing” has been replaced by synthesized violins and cold keyboards.
The production is accentuated by listless songwriting and an anemic performance. The leadoff track, “I Never” is the All-American Rejects trying to sound like the All American Rejects. The synth fades in, the guitars ring in and out, and Tyson Ritter tries to sound desperate. Ritter clearly doesn’t care anymore. He still hits the high notes, but it’s as if he’s being forced at gunpoint. The yearning that was such an important part of his vocal style has been replaced by competent apathy.
When the World Comes Down could have been saved by a single. Singles have always been the Rejects bread and butter. However, the hooks that propelled “Swing Swing” and “Dirty Little Secret” are non-existent. “Gives You Hell” is supposed to be the single, but doesn’t take off. They tack on a chant at the end as if to say “Hey kids! This is where you sing along,” because there isn’t a strong chorus. Instead of a punchy guitar riff, the band used keyboards. “Gives You Hell” is the first lead-off single that the All American Rejects have released that is forgettable.
There are some bright spots on When the World Comes Down, but they are few and far between. “Damn Girl” channels the Rejects of old. The harmonies are dead-on and the guitars crunch in at exactly the right moment. Best of all, it has the huge chorus that the Rejects are known for. It should have been the lead single. “Back to You” is a nice power ballad with an obvious Britpop influence. It was clearly written to get a few lighters in the air, and it achieves its goal magnificently.
It’s surprising that the All American Rejects are still around five years after their debut. You can only write about teenage heartbreak for so long before it starts to get tedious. There were some obvious dents in the armor on Move Along, and now the dents have become gaping holes. If they had ditched the production, they might have had a better album. However, the production isn’t completely to blame because quite frankly, the songs aren’t there. The All American Rejects are a very likable band, but affability can only take you so far. The bloom is off the rose.