And while diehard fans may always be excited for a band’s comeback, Fall Out Boy may prove to be too late to the party. Based on the lack of interest in the band’s post-breakup side projects, even down to that decrease of interest in Folie á Deux, it seems that the band may alienate their old standbys by misjudging the relevancy of their image and their sound. Is pop-punk dead? No. blink proves that idea wrong. But if blink-182 is the prime definition of long lasting punk in this day and age, then it sure is lonely at the top — and Fall Out Boy is nowhere near that ageless pinnacle.

You could make this exact same argument for the (apparent) standard-bearer of pop-punk: Blink-182. Neither band realistically falls under this genre anymore; however, you could make a case for a similar lack of (comparable) interest in Blink’s side projects. You could also make this same argument for the decrease in (comparable) interest in Blink’s last album before hiatus and even their post-hiatus releases.

(IMO: Blink went about their reunion, in hindsight, all wrong - they should have dropped a single when they announced as well.)

Now, for “misjudging” their relevancy - let’s compare the first singles anyway:

Fall Out Boy’s single is currently #2 on the iTunes charts, Blink-182’s peaked at #21 and debuted at #26. Their single teaser video has already racked up over 2 million views in some 48 hours.

From the evidence of the past week, the writer’s the one misjudging the relevancy of this band … not the band themselves. Time will tell, but I’ve got a gut feeling that Save Rock and Roll outsells Neighborhoods in the first week, and possibly over the lifetime of the albums, as well.