The All-American Rejects
“The All-American Rejects” (DreamWorks)
Compare to: Jimmy Eat World, Saves the Day, The Stereo
Rating: 7

The All-American Rejects’ self-titled album reads like a “Synth-Pop for Dummies” handbook. There’s nothing deep about the music, save a few lines of lyrics, but the pop tunes unabashedly exploit every trick in the book.

Write about girls, love, heartbreak. Keep it simple. Add oohs and ahhs.

This same approach for creating irresistible melodies that pushed bands like Jimmy Eat World into the mainstream will surely mean success for the All-American Rejects. All the kids who couldn’t stop singing “Middle” now have another set of tunes to party in their underwear to. We’re not talking brain surgery here — just a knack for great hooks.

The album is a fusion of modern pop-punk, ’80s-era synths and vocals reminiscent of the Smiths and the Cure and a blast of hair metal guitar solos thrown in for good measure.

It’s surely The All-American Rejects’ knack for writing catchy, cutesy tunes that caught the ears of execs at a major label. The album had been released a few months earlier on indie-stalwart Doghouse Records, but was reissued Tuesday branded by DreamWorks. And it surely will be eaten up by MTV’s TRL and Clear Channel radio stations as well. It’s that catchy.

The album’s first single, “Swing Swing,” sums up everything the All-American Rejects do well — crunchy rock riffs, layers of synth-driven melodies and accented vocals so heavy they occasionally break. “Swing, swing, swing from the tangles of/ My heart is crushed by a former love/ Can you help me find a way/ To carry on again.”

The opening song, “My Paper Heart,” is perhaps the second-catchiest on the album. Its steady drum-machine beats give way to tinkling keys and brooding lyrics that would make Dashboard Confessional cry.

“The All-American Rejects” is 11 tastes of addictive ear candy — the kind you crave long after the song is over.

— Erin Randolph

Massive Attack
“100th Window” (Virgin)
Compare to: Tricky, Portishead, Everything But the Girl
Rating: 7

In the world of electronic music, Massive Attack stands out as a giant. With releases like “Mezzanine” still considered critically acclaimed albums, Massive Attack’s latest effort, “100th Window” comes as both a disappointment and delight.

On this album, the group’s potency has been diminished to merely one-third of its original strength, leaving only Robert “3D” Del Naja and his vision of progression.

The album begins at the exact spot “Mezzanine” left off, with haunting soundscapes and obsessive attention to detail. Similarities to Massive Attack’s previous work can also be heard throughout the album, as driving percussion and carefully crafted layers impose a sense of urgency and deep desire.

Likewise, the pounding bass lines and forceful percussion that characterized “Mezzanine” are still there, and have been allowed greater latitude, which adds more to the atmospherics. Each track has the group’s classic appeal, with layered, subtle sounds and effects that gives a different experience with each repeated listen to a track.

Interestingly enough, Sinead O’Connor makes an appearance on three tracks. These are the tracks that shine the brightest on the album, giving maturity and depth to the music.

“A Prayer for England” is a protest song that doesn’t stray from O’Connor’s forthright nature, while “What Your Soul Brings” conjures memories of the group’s early releases.

However, just as this album seems to excel in creative production, it does little to bring new concepts to the table. Where Del Naja does attempt new ideas, the product is rather shallow in comparison to past attempts that included the other two members. Older fans may remember when each new release by Massive Attack was a radically different take on how to craft music.

“100th Window” is worthy of a listen, but don’t look for a new masterpiece.

— Josh Nelson

The Juliana Theory
“Love” (Epic)
Compare to: The Movielife, Zao, The Get Up Kids
Rating: 7

There’s nothing quite as damaging to an indie band’s chances of survival as being pigeonholed into one particular genre. Nothing except signing to a major label and being considered too mainstream for its fans.

After the release of “Understand This is a Dream” in 1999, The Juliana Theory was quickly lumped by critics into the oft-overused “emo” category. At the time, the moniker seemed appropriate for the soft, heartfelt melodies that permeated the album. But when the band released “Emotion is Dead,” it was clear that a change was coming.

“Love,” the band’s major-label debut, picks up where “Emotion” left off, and it’s exactly where The Juliana Theory should have started four years ago. From the stiff opening guitar licks of the first track, “Bring It Low,” it’s obvious that any preconceived stereotypes about the band’s sound are a bitter memory.

Themes of love and love lost are still dominant on this release, but the band’s new, edgier sound and experimentation keep the rather predictable prose from ruining the music’s overall intent.

In “Shell of a Man,” lead singer Brett Detar sings, “Why can’t I let go?/ I’m only the shell of a man/ I’m lost in myself and afraid of who I really am.” The smooth piano fills and distorted backup vocals turn the song into an introspective beauty.

Luckily for the members of The Juliana Theory, “Love” proves a band can still explore new sounds without giving in to the control usually associated with being on one of the “big five” labels.

— Aaron Ladage

50 Cent
“Get Rich or Die Tryin” (Aftermath)
Compare to: Cam’ron, DMX, Jadakiss
Rating: 6.5

Life is good when you’re already associated with Dr. Dre and Eminem before your first major-label release drops. But while 50 Cent’s raps focus on the struggles and battles he’s endured through life, “Get Rich or Die Tryin’ ” may face the same struggles to live up to its hype and expectations. With an array of great hip hop scattered throughout the album, trudging through the bad to find the good becomes an annoyance and a distraction at times.

Tracks such as “If I Can’t,” “High All the Time” and the first single, “In Da Club” definitely show 50 Cent’s proof of talent, but it’s songs like “Heat” and “P.I.M.P.” that bring out the not-so-catchy rugged street style that drive 50 Cent’s sound.

A lot can be said about rappers that fabricate or glorify their past to sell more records, but 50 Cent seems to have the rhymes, style and the scars to back up his violence-laden lyrics. In a time when the airwaves are dominated with a more pop-feel, 50’s love and envy of guns may come as a surprise. If you don’t know guns rule 50’s every thought, this album will clue you in on his favorite subjects.

The majority of the tracks are produced by Dre or Em, and those that aren’t usually feature one of the members of 50’s group, G-Unit. But with G-Unit strongly resembling Em’s D12 in terms of lack of talent, that makes two strikes against these songs.

Eminem pops up on “Patiently Waiting” and later on “Don’t Push Me” with the usual solid result. Dre, though heavily involved in producing, doesn’t lend any rhymes to “Get Rich or Die Tryin.’ “

50 Cent and his gangsta-rap tendencies definitely bring that hard edge that the Dre camp needs to fend for itself against the revenge-seeking Suge Knight, but the lack of consistency in solid hip hop may silence all the hype.

— Kyle Moss