Since bursting on to the MTV scene in mid-2005, pop-punk scene kings Fall Out Boy has rocketed to the forefront of the "Warped Tour" scene, and bass-slinger Pete Wentz (and other certain parts of him) has become a media darling and achieved full-blown celebrity status.

Although it has already been leaked through the internet, FOB will release their fourth full-length record, entitled "Infinity On High," on February 6th. It will be their second project to be released since signing to Island/Def Jam, and it will prove to be one of, if not the biggest release of 2007.

From the opening hype of label CEO Shawn Carter (known in some circles as Jay-Z) to the command to "press repeat" at the end of the record, "Infinity on High" lives up to all of its expectations.

On the first track, "Thriller," Wentz (who pens all of the band's lyrics) renounces his role as a "poster boy in the scene," instead declaring that while he can take problems away with the wave of his hand, he still remains just like his constituents, as evidenced by the epic refrain "long live the car-crash hearts!" One of the most notable things about the record is the voice of front-man Patrick Stump. While remaining unmistakably familiar, it is also noticeably stronger than on previous FOB releases. Gone is the nasality of his prior crooning - his voice is deep and forceful, as if he finally has learned to sing from his diaphragm. His pipes are one of the major reasons that "Infinity On High" can be billed as remarkable.

It seems that the guys still haven't accepted the fact that they are mainstream yet, though. Or perhaps they are still clinging on to the grassroots ethic that the Chicago quartet has celebrated their whole lives. The current single "This Ain't A Scene, This Is An Arms Race," reflects this sentiment. Wentz declares "the bandwagon's full, please, catch another," backed by a track that seems not unlike something FOB proteges Panic! At The Disco could have penned. Perhaps it's irony. Perhaps it's pop genius. Either way, the track is stellar, even though it is different than every other track on the album.

The next few tracks take us through a few different moods - a mid-tempo love song that includes a reprise of Leonard Cohen's "Hallelujah;" a beautiful track featuring Stump, a piano, and the heart on his sleeve; a driving, string-backed up-tempo number ("Thnks Fr Th Mmrs", which I am predicting to be the next single); and a song ("Carpal Tunnel of Love") which sounds

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