Publisher: Interscope records
Mon, 10 January 2005
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Jimmy Eat World blazed onto the scene a few years back, revolutionizing the Emo scene. After several split EPs and small budget releases the band released â€śStatic Prevailsâ€ť and followed shortly with â€śClarityâ€ť featuring the hit single â€śLucky Denver Mintâ€ť. Next up was the award-winning â€śBleed Americanâ€ť which had to be renamed â€śJimmy Eat Worldâ€ť after the September 11 attack on the World Trade Center.
After almost 4 years and constant touring the band decided to release their 4th full-length studio album. â€śFuturesâ€ť is the amazing follow-up to â€śBleed Americanâ€ť. The album opens with the blistering guitar riffs of the title track, â€śFuturesâ€ť. As with the opening title track of â€śBleed Americanâ€ť (later renamed â€śSalt, Sweat, Sugarâ€ť) it truly is a killer first track. Jim Adkinsâ€™ stunning vocals carry you straight into what promises to be another brilliant album by the band who some say (and I concur, not one artist has come close) re-invented the Emo genre.
Next up is â€śJust Tonightâ€ť, a song that proves that Jimmy Eat World can be as dark and disturbing as they can be poppy and lighthearted. This track features more layered heavy guitar sounds and dissonant vocal melodies reminiscent of their earlier releases.
Up third we have â€śWorkâ€ť (what is it with these 1-word titles?). This song is the complete antithesis of its forerunner. Mellow guitars and uplifting vocals transport us into a chorus that is almost heartfelt enough to bring a tear to the eye.
A choppy acoustic guitar riff moves us into the 4th track, â€śKillâ€ť. By this stage youâ€™re wondering where all these mellow tracks are coming from until the chorus of â€śKillâ€ť breaks and reminds you of the catchy lines from â€śLucky Denver Mintâ€ť. â€śThe World You Loveâ€ť is the 5th track from this epic release. It represents the point in the album where the songs begin to get lighter and less brooding. It still retains the classic Jimmy Eat World massive guitar-ridden pre-choruses and choruses that all of us who have been long-time fans have come to expect. It truly is the sort of song that makes you feel glad to be alive.
Next up we have â€śPainâ€ť, the hit single that blistered into our consciousness in late 2004. This brutally dark and heavy song was also featured on last years console release of â€śTony Hawk Underground 2â€ť (thanks for the tip off Jamie). This would have to be my personal favorite song on this album.
Crossing the threshold into the second half of the album is the vastly different â€śDrugs or Meâ€ť. Relaxed piano and sampling feature heavily in this song, which moves slowly and surely into â€śPolarisâ€ť. â€śPolarisâ€ť is yet another more laid back clean guitar song. It features some fantastic lead guitar work that reminds me very much of U2 and other bands who use that soaring guitar and vocal style in such a brilliant way. At this stage weâ€™re heading towards the end of the record, and in keeping with the style of the rest of the record we have â€śNothingwrongâ€ť, another bastardly heavy awesome rock song that gets your head nodding and toe tapping. â€śNothingwrongâ€ť would probably be the heaviest rock track on the whole album, so definitely check this one out.
Beautiful vocal harmonies and more acoustic guitars introduce us into â€śNight Driveâ€ť, which, like many of the tracks earlier in the record, is the complete opposite of the song preceding it. If you expected an easily flowing record that moves predictably all the way through from start to finish, forget it!
â€ś23â€ť (no, not Michael Jordanâ€™s old number) is the second last song on the album. It starts with a really nice guitar and string part which again reminds me of some U2 and Dire Straits releases. Yet again this band continues to amaze me by writing material that is totally unlike their past releases yet still keeps true to the bands vision, sound and feel. Finally, marked as a Bonus Track, we have â€śShameâ€ť, the utterly excellent closing song on this record. Again itâ€™s completely dissimilar to older Jimmy Eat World tracks using huge drum overdubs with relatively thin guitar and vocal parts until the chorus breaks and the whole sound meshes together. This song kind of reminds me of some of the stuff featured on â€śClarityâ€ť, which is cool, as â€śClarityâ€ť is my favorite Jimmy Eat World release to date. The disk also includes the token multimedia contents and allows you access to a â€śsecret siteâ€ť. This site allows you to download rare and unreleased material and demos by the band during rehearsal and pre-production for â€śFuturesâ€ť.
Overall this album is truly great. It took me a few listens to familiarize myself with the newer material, but after a couple of runs it becomes impossible to stop listening. Instead of going with the concise layout of a tried and true pop-rock record as they did with â€śBleed Americanâ€ť, theyâ€™ve brought all the best elements from all their past releases and rolled them into what is, without question, one of the best rock albums released in late 2004. I would highly recommend this purchase to any fan of modern rock and emo.
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