The All-American Rejects "Walk Over Me"
Tuesday November 13, 2012
The All-American Rejects have released their brand new Flatline EP featuring remixes by Skrillex, Jeff Bhasker v. Tyler Johnson, and "Heartbeat Slowing Down (Flatline Version)." The full EP is currently streaming on Youtube. Additionally, the band have just released a visually stunning Lyric video to their current single, the album version of "Heartbeat Slowing Down."
The Rejects are currently touring the US with upcoming dates in Arkansas and Alabama. Visit the band's official site as well as their Facebook & Twitter pages for full schedule and ticket information. Their latest full length, Kids in the Street, is available now on iTunes.
Thursday November 8, 2012
The All-American Rejects have announced the details of their upcoming Flatline EP, which will feature remixes by Skrillex, Jeff Bhasker v. Tyler Johnson, and "Heartbeat Slowing Down (Flatline Version)." The release (artwork above) will see daylight on November 13th, and a preview of the Flatline Version of "Heartbeat" is streaming now on SoundCloud.
Flatline EP Track Listing:
"Heartbeat Slowing Down" (Flatline Version)
"Walk Over Me"( Jeff Bhasker vs. Tyler Johnson Remix)
"The Wind Blows" (Skrillex Remix)
The Rejects are currently touring the US, and full schedule and ticket information can be found on their official site Their latest full length, Kids in the Street, is available now on iTunes.
Tuesday October 16, 2012
To celebrate the band's 10th Anniversary, The All-American Rejects have just unveiled the teaser for Heartbeat Slowing Down," the latest single from their album Kids in the Street. The track (streaming in full on SoundCloud) serves as the follow up to "Walk Over Me," an innovative clip shot with 5,000 frames of Sharpee art over 25 days. The Rejects also shared a video of the band watching the Supersonic Skydiver this past weekend.
They're currently on tour with Boys Like Girls, making stops from Indiana to Los Angeles in the coming weeks (complete list of dates, below). Head to the Rejects' official site at allamericanrejects.com for more info and to purchase tickets.
"Heartbeat Slowing Down" and Kids In the Street are available now on iTunes.
It was December 2009 and The All-American Rejects were in celebration mode. The band — which lead singer, bassist, and lyricist Tyson Ritter and his long-time friend guitarist Nick Wheeler formed as teenagers in Stillwater, Oklahoma, before being joined by guitarist Mike Kennerty and drummer Chris Gaylor in 2002 — had just wrapped up touring behind their third album, 2008’s When The World Comes Down. The Rejects played to ecstatic audiences across the globe, thanks to scoring their first international hit, “Gives You Hell,” which also spent four weeks at No. 1 at Top 40 radio, became the No. 1 most-played song of 2009 at the format, and went on to sell four million copies in the U.S. alone. After finishing a tour that capped 10 years in the music industry — during which time the Rejects also released a self-titled platinum debut in 2003 and the double-platinum Move Along in 2005, as well as a string of well-received singles — Ritter should have been on top of the world. Instead, he found himself feeling utterly lost.
“I decided that I needed a major life change, so I did a massive spring cleaning and rid myself of everything that was normal and domesticated,” says Ritter, who, when the tour wrapped, ended a long-term relationship and moved to Los Angeles, “which I swore I’d never do unless it was to date Winona Ryder and lose my craft,” he jokes. “I've been in a band since I was 17. I was in a relationship since I was 17. So here I was, at 25, still feeling 17 in every way, because I'd just come off the road after being on it my entire adult life.
In the nine months that followed, Ritter fell down the rabbit hole of excess. “I basically crawled into a bottle of Jameson’s and didn’t come out,” he says frankly. “The worst it got was me lying on the floor talking to myself and knowing it was morning but not caring, and not even really remembering how I got there. The whole time in L.A. was about constant distraction so I didn’t have to deal with the fact that I had to function outside of the band. I had to grow up, and it turns out I had a lot to say about that realization once Nick pulled me out. He basically said, Ty, let’s get our shit together and go up to the mountains and see if we’ve got anything to say.’”
The result is the album of the Rejects’ lives: Kids In The Street — a musically brash, lyrically candid portrait of the past two years that finds Ritter exploring themes of regret, nostalgia, and excess, wrapped in the Rejects’ trademark earworm melodies, bright harmonies, and potent rhythmic energy. “The record tackles everything I’ve never been brave enough to talk about,” he says. “Even if I may not always seem very likeable, it was important that I be truthful and really open up about what I’ve been through.”
Ritter and Wheeler wrote the songs in various remote locales, including a cabin at the base of California’s Sequoia National Park, as well as in Maine and Colorado, before presenting the songs to Kennerty and Gaylor, whom Ritter calls “the judge, jury and executioner on these things. I practically wore a hole through the seat squirming and watching them trying to gauge their reaction.”
Kids In The Street opens with “Someday’s Gone,” a lacerating takedown of a person Ritter says tried to destroy him emotionally, followed by first single “Beekeeper’s Daughter,” which finds Ritter assuming the feckless character of a guy who believes he can get away with all manner of bad behavior and still get the girl. “This guy never backs down from that opinion,” Ritter says. “At the end of it, he's even stronger and more snide, but in the end he’s the loser, even if he doesn’t know it. He's an asshole, but at that point in my life, I was kind of an asshole. As we were making Kids in the Street, I went from that to being a completely humbled guy who's looking at his reflection saying, ‘Wow, what have I done?’ Hence the inclusion of several apologetic songs, like the searing “Bleed Into Your Mind,” the hushed closing ballad “I For You,” and the epic “Heartbeat Slowing Down,” a bittersweet goodbye that Ritter calls the pulse of the album. Then there’s the title track, the majestic “Kids In The Street,” which Ritter says is a nostalgic reflection on how far the Rejects have come. “It’s about realizing you can always hold onto moments where you still feel alive. That's the theme of the album: Hitting bottom and realizing you can’t stand up until you find the floor.”
With its surreal, synth-driven sound, “Kids In The Street” is also an indicator of how the band has let itself grow musically. “I feel like we've come into a sound that is really original for us,” Ritter says. “You can also hear it on ‘Gonzo’ and ‘Fast & Slow.’ We're putting in doses of instrumentation, like horns and various synths, that we've never injected into our music before, and I think it's taken our sound to a different place.” The band credits working with Grammy-nominated producer Greg Wells (Adele, Katy Perry, OneRepublic) with helping them to evolve while still retaining what their fans love about them. “The whole record was this collaborative effort where Greg felt more like a fifth member than a producer,” Ritter says. “He really spoke our language, which translated into the sound of the album. If you really want to know what Kids In The Street sounds like, it sounds like The All-American Rejects got their shit together and wrote a record that was going to keep them around.”
After releasing a viral video of “Someday’s Gone,” the band got its first sense of how the fans might react to the material. “I’ve creeped on a few message boards and the general consensus seems to be surprise that it doesn’t sound like When The World Comes Down but more like our first album,” Ritter says. “That alone makes me feel like if you were a Rejects fan and maybe have disconnected with us along our journey, Kids In The Street will be the album that reels you back in. And if you’ve stuck around, then thanks for growing up with us. Because that’s what we’ve been doing for the last ten years — growing up. Audibly."