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For as much ballyhoo as the media has made about the undergrounds rediscovery of pop, its not the earth-shattering development that it may seem at first. Sure, for the first time in a generation, kids have picked up on the pop tradition, but, they fail to mention, its in a few limited ways: with bands who want to be Weezer, bands that want to be The Get Up Kids and, most enterprising of all, bands who want to be some squirrelly combination of those bands. Instead of the fiery power-pop or soppy-mop emo, the Rejects delve into a sound thats got all the oomph, force and guitars of Weezer-era power pop, but has a lot more depth. Be it with miniature doses of orchestration that hints at everyone from Phil Spector to Elvis Costello ("Dont Leave Me" and "My Paper Heart"), or with its use of keyboards not as a centerpiece a la piano or synth pop, but as an accent ("Time Stands Still"), The All American Rejects isnt just hair of the dog for the Weezer hangover that nearly every other band of its stripe these days suffers.
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