What Does The Future Hold For Jimmy Eat World On Futures?

Mesa, Arizona can lay the claim to fame for one of the more enigmatic groups in music today, Jimmy Eat World. A quartet that penned the smash-hit party song, "The Middle," Jimmy Eat World started their career off ten years ago. After swithing bass players, they settled on the current lineup, a mesh of childhood friends shooting for the moon.

Jimmy Eat World Is:
Jim Adkins (Vocals, Guitar)
Tom Linton (Guitar, Vocals)
Zach Lind (Drums)
Rick Burch (Bass)

Polished chords are the most striking thing about Futures. Where does it start? Well, right on the very first song, the title track. Adkins' vocals are powerful yet deeply poignant; he manages to do that while almost making his voice one with the music. So much for the stigma usually attached to title tracks; "Futures" is one of the best songs on the album. The crescendos that Adkins and Linton reach at times are eclipsed only by the glossy overall look that this track sports. "Just Tonight" is a pure rocker with a definite "Bleed American" feel. Adkins doesn't use his vocals to digress into screamo or anything. His range is limited here and for good reason. His softer sound actually gets the point across better when backed by bonecrushing guitars. If the first two tracks of the album haven't caught your attention by now, you need to put Futures down right now.

"Work" is a more emo-geared track that stays shrouded on the dark side of Jimmy Eat World. Its following track, "Kill," uses savvy guitar work intertwined with Lind's talented drumming to deepen the sense of musical bliss. Granted, this song doesn't catch on as quickly with the casual listener, but I personally find it the diamond in the rough of the entire album.

"The World You Love" is a track that takes a while to get started; when it finally does, only the chugging guitars keep this song from being mired in obscurity. Not often on Futures does this happen. The excellent news is that the chorus is a bit more memorable. The first single, "Pain," is a slice of pop-punk paradise. As you soon realize, this track deals with drugs and Adkins' seriousness is coupled well with nearly ethereal breaks. As far as the chorus goes, it's excellent. If you're going to take memorable choruses with you from the album, you'll remember this one and the one from the title track. It's plain to see why "Pain" was chosen as the lead single. Of all the songs, this is most geared toward a mainstream audience. Futures is a very different album from their past work, and they obviously don't want to alienate that new fanbase they delved into with Bleed American/Jimmy Eat World.

Clocking in at nearly six and a half minutes, "Drugs or Me" is lethargic. Granted, it's not a horrible song, but if you're a fan of Jimmy Eat World's quicker, livelier tracks, you will be thoroughly disappointed. In this reviewer's opinion, it never really gets rolling and it takes far too long to even get that far. Track eight, "Polaris," is cut from a similar mold. The advantages here are that the song is just under five minutes and it gets that much-needed power boost that "Drugs or Me" lacked. Returning to the roots of the band, it shows all those Dashboard Confessional fans what real emo is. Adkins' singing tugs at your heartstrings while putting together a solid song.

"Nothingwrong" uses a sludgy intro to set the tone. It sounds like Jimmy Eat World goes metal. In actuality, the song sounds like the band going for a "hey-hey" party anthem. The guitars, however, are liable to blow out some eardrums, which is something I love to hear in a band. In this case, not only does it work, but it exemplifies the dark themes that Adkins and company were trying to shoot for with Futures. If it sounds like I'm gushing over this track, it's because I am. It reminds me a lot of one of the band's former singles, "Bleed American." A whispered intro by Jim Adkins opens "Night Drive." Sweetly-sung verses show a lot of thought and dedication from the lead singer; however it just doesn't seem to make you love the song. Lyrically, it's mature and motivated, but the backing instruments are dull; yes, Jimmy Eat World meant them that way, but it doesn't make the track more appealing.

Described by some as an almost Cure-esque track, "23" is the second-to-last song on Futures. Shimmering guitar chords highlight the intro to this engaging song. The intro alone is worth the price of admission, something so technically challenging and unique that it keeps the listener wondering, "What are they going to do next?" Adkins' emo-ridden vocals take a backseat here to his accompaniments. "23" doesn't have any catchy pop choruses, nor is it the next party anthem. If you're looking for a solid, thoughtful, and sometimes dark song from Jimmy Eat World, look no further. Track 12, which is actually a bonus track, is entitled "Shame." Walls of white noise evolve into plodding guitar solos that slowly let down this album closer. In fact, "Shame" has a nice chorus that Adkins executes very well. I can't say I'm in love with this track, but you can't argue with results.

Oh, what a difference a producer makes. This follow-up to Bleed American has the glossed-over sheen of production. While releasing an album afire in glitz and glamour, Jimmy Eat World has also decided to wear their musical diversity on their collective sleeve. Ranging from soulful emo to pop-punk to an almost progressive sound, Futures has it all. It makes a few slips here and there, but the overall picture is vivid and magnificent. I'm unable to give this album an A+ for one simple reason. Futures won't land itself on any album of the year lists because of the fact that the band caters much more toward a secular musical taste rather than the bubble-gum mainstream. I admire Adkins and his fellow musicians for their confidence in their work, but the album is almost too secular. Don't expect any tracks that are on par with "The Middle"; you will be disappointed. Jimmy Eat World's all grown up now and they've got something to say. Will you be listening? I am.

Overall Grade: A

Copyright T. Pascarella, 2004. Written for The-Trades.com (article published 11/4/04), and reproduced by the author here.