All your favorite emo cliches are here! The geographical names ("Mass Pike")! The play on words with geographical names and girls names ("Anne Arbour")! Giddy nostalgia! Giddy geography! Writing references! Seasons! Missing kissing! It's ironic that so- called "emo" lyrics have become utterly devoid of any emotion due to incessant repetition. The music monotonously circles above in a similar holding pattern. "One Year Later" and "Red Letter Day" mix the juvenile snotrocket punk of Blink 182 with the Midwestern Camero anthems of John Cougar. But really, it just sounds like the Promise Ring with nasally vocals, country production, and gratuitous pick- scrapes.

As far as the band's sound, well... the Connells come to mind, and the Get Up Kids should be punished for that synaptic response alone. "Forgive and Forget" comes frighteningly close to those Goo Goo Dolls songs that the Ricky Lake- lookin' bass player writes and sings. In fact, a latent "about to become the Goo Goo Dolls" feel runs throughout the entire EP. I mean, at least their debut featured the sonic boom of Bob Weston's production. Red Letter Day, on the other hand, should be pointed in the direction of music advisors planning Drew Barrymore soundtracks at Hollywood Records.

The closing two songs, "Anne Arbour" and "Mass Pike," chime along in mid- tempo delicacy like Jimmy Eat World's lily- white doily rock. The Get Up Kids make the predictable acquisition of piano, drum loops, and keyboards, too. Yet, none of it is done with any conviction and the frills just twinkle beneath layers of flat guitar and harmonizing yearning. But maybe the Get Up Kids know this. The "thrilling" packaging, with its taupe, burnt taupe, and mocha taupe color scheme, depicts a large husk of wheat, which pretty much sums it up-- delicately swaying weeds from the Midwest that are used as the most basic and bland sustenance. You know, like Wonder Bread.

-Brent DiCrescenzo