Advocates of Emotion: The legacy of Jimmy Eat World

Arizona band Jimmy Eat World have been around the block musically. Since their grand inception in 1993, the act have gone on to cultivate a sound of their own, and from this, they’ve become true advocates of emotion. And by priding themselves on designing thought-provoking work, their stake in the emo-rock circuit is deeply rooted. Emotional music has taken its blows, it has come under scrutiny as being too ‘sad’ for the modern pop upstarts, but it’s needed, and it still emerges victorious in a scene rapidly changing. 

Being a band who acknowledge emotion, who formulate songs tapered around the somber note and tone, Jimmy Eat World are mainstays, and many class them as being the godfathers of the genre. This accreditation comes from the long list of tracks and albums the band have constructed, from their self-titled debut in 1994 to their 2016 release Integrity Blues. None of these records have been labeled as being lackluster, they’re all different and they all channel emotion. 

To make it ‘big’ it takes substantial and grueling work. Jimmy Eat World have been around for a long time, but they had to work their way up platforms. Second album Static Prevails did earn the band some credit, but it never broke the glass ceiling, and it never shaped the unit as ‘ones to watch’. 

Bleed American (2001)

Although Static Prevails did give this young band a boost, it was 2001 when they flew from the musical nest onto the patch where the major players were staking their claims. Bleed American was the record that made Jimmy Eat World captains of emo. The content was refined and defined the band’s sound. From the smack of “A Praise Chorus” to the cathartic “Hear You Me“, the opus granted them immediate access into bigger venues and rooms filled with lovers embrace. 

After the brilliance of Bleed American, Jimmy Eat World delivered a more polished sound in 2004’s Futures. Even with the changes, the album did have that punch and emotion we all expect. Lead singer Jim Adkins conveyed through gallant, sober, lyrics, his grievances. Work is a song which gradually exposes the album as a statement of intent. “Kill” is a sadder evaluation. “Drugs Or Me” is an eye-opening assessment of someone cascading into addiction. They’re lost, subdued, hellishly frail, and turning blue. And Futures is Jimmy Eat World’s personal expedition into emotions unnerving core. They bellowed, they struck nerves, but they delivered. And that is all you need from a band that just wanted to rest their heavy heads.     

Chase This Light hit the scene in 2007. An album that came to be even more polished, but has become a central element to the band’s catalog. “Big Casino” starts the record off with brazen guitar lines and a massive chorus, taking the listener by the scruff of the neck. Also on this disc, there’s plenty of emotion as songs such as “Chase This Light” and “Dizzy” come to the fore. Chase The Light is a balanced listen, and it surprised many people by its complexity. 

Invented drifted in next in 2010. It is a punchy affair, showcasing Adkins’s lyrical dynamism. He’s a true songwriter, taking snippets from his day to day experiences and placing them into a bundle of wonder. Invented didn’t hit ground-breaking proportions, but it is an album of clarity, an opus worthy of being a solid addition. Songs such as “Evidence” and “Coffee And Cigarettes” blended into the fabric well. Those powerful guitar tones and soft vocals intertwined to create an astounding contrast. To be truthful, Invented doesn’t overshadow the records prior to it, but it does display ingenuity. Intelligence is paramount on every release from Jimmy Eat World, and Invented stakes a claim for being their most sophisticated compendium. 

Clarity (1999)

Editor’s note: Clarity was the first Jimmy Eat World album I bought, off the strength of the single “Lucky Denver Mint”, which I had heard on the radio. It was the start to a long and everlasting connection with their music. The album celebrated its 20th anniversary this year, and to this day, it’s still my favorite.

Back in 2003, we spoke to Mark Trombino, the album’s producer about working with Jimmy Eat World.

The band finished their next addition in 2013. Damage showed that Jimmy Eat World were always stuck to their roots, and its sound is reminiscent of the days of Bleed American and even Futures. Lyrically it is intense, captivating and softer. There’s ballads here, songs of despair. Adkins displays this on tracks including “Lean” and “Book Of Love”. On that particular track, Adkins sings with freedom but also there’s bubbling rage overstepping the mark. He describes a lover who is filled up to the skies with lies, and he craves the truth. It is wonderful songwriting. 

Jimmy Eat World’s most recent work is Integrity Blues. The album transports the listener into a world where hatred and good fight. The melody is composed well, and the record as a whole presents itself as a genuine record full of brazen guitar work and insightful songwriting. The act dislodges partially from the acoustic sound and shows us that they can play hard-hitting music. Integrity Blues is a statement of intent from a seasoned band who don’t want to be rubbed away. Songs such as “Sure And Certain” and “Get Right” prosper beyond the rest, and are sure winners. The beat, the melody, the bass lines all meld together smoothly. 

All of these records have emotion within their interior. They all naturally bloom but none overshadow. They use the same template, but don’t sound completely alike. And judging by the response, many love the diversity of Jimmy Eat World. But many don’t know the band have been around since the early nineties, the same era as Green Day’s Dookie and Nirvana’s Nevermind, as well as The Offspring’s Smash. 

As we look forward, Jimmy Eat World have announced they’re working a new full length. The band recently released a two-song EP Love Never / half heart. These songs exhibit a brash direction and a cathartic one. Both compelling additions to the catalog. It takes guts for bands to be making music 25 years on. Not many bands have lasted this long, not many have delivered consistently good albums, but this unit are different. They’re hard workers and their musicianship should be acclaimed. And being the true advocates of emotion is a suitable title for this forward-thinking act. 

Return of the ‘Way: An interview with Downway

It’s been a long time between drinks for Calgary punks Downway. The band last released music back in 2003, a memorable split EP with fellow Canadian punk rockers Belvedere appropriately called Hometown Advantage. That’s when I first discovered Downway and their melodic brand of skate punk. Graceful as it was hard-hitting and accentuated by its DIY production values, it was great punk rock that wasn’t overproduced or overdone. Downway proved that all you needed were a couple of guitars, a bass, some drums, razor-sharp melodies, and a knack for writing great songs. They were played on MuchMusic, performed at the Warped Tour, and had music produced by Good Riddance’s Russ Rankin, all accomplishments any band would be proud of. But they called time on their music not long after, leaving the Downway to name rest idle for years.

Reunions can be a tricky thing, but when you talk to Downway’s Dave Pederson, you can tell that this reunion is about the important things- the music, the fans, and the band. Reunited, Downway are releasing their first new music in more than 14 years, a new full-length album titled Last Chance for More Regrets on Montreal-based label Thousand Islands Records. The album features the soaring melodies and up-tempo punk that became their calling card, but when you listen to tracks like “Wild Ones”, you’ll hear a band injecting years worth of life and introspection into an already effective formula. With their new music it sounds like Downway never left at all, but in truth, you’ll hear a band that took their time away to just get better

We spoke to Pederson after the band had concluded their Japanese tour and talked about their reformation, what it means to them to get back on the road and their hopes for their new album.

Welcome back! How does it feel to be back together?

It’s been a fun 2 years since we decided to do this. I didnt expect we would get so deep back into it but it’s been amazing.

What was the catalyst to reforming, how did it happen?

It was actually at my 40th birthday party in 2016. We were all there except for Isaac, whom we hadn’t spoken with in years unfortunately, and Dave Holmes and I got to talking over a beer and thought, hey let’s play some shows and maybe put out a new song or two. Lyndon, our drummer now, was at the party and literally met Holmes right then and there and I said; “and this guy will play drums!” Ryan and Holmes said “cool” and that was that.

What’s kept all of you busy away from Downway the last 14 or so years?

Many many things. We all have different career paths. Every one of us has 2 kids. I work in Oil & Gas, Holmes is a Physiotherapist, Lyndon works in the restaurant biz and Ryan runs his own business. Some of us are married, some used to be, (*laughs*), everyone is busy with life beyond Downway.

Listen to “Wild Ones”:

Listening to your new songs, “Part of the Show” and “Wild Ones”, it sounds like you guys haven’t lost a step at all. I love these new songs. What was it like coming back writing new songs after a good decade plus away?

We weren’t too sure what this would sound like as we haven’t written an album together in so long that we didn’t really talk about a direction or anything. We literally just started bringing songs to the table, either working on them or scrapping them. No one’s feelings got hurt if others weren’t digging it or anything like that. And I think we made our best record ever cause there’s zero pressure on this one.

And getting back in front of a crowd, playing shows again- how have they been?

That’s been the main reason we are doing this. Just being up there and connecting with people. We all missed that and there’s no substitute for that in life. If you haven’t played on a stage with your friends and fans singing your songs then you really don’t know what it’s like. It’s why every band does what they do for the most part.

So a lot has changed since your last release, the 2003 split with Belvedere, have you guys noticed a change in the industry and has any of it changed the way you guys do things? (online, offline etc)

OMG yes! We don’t even have a website or anything like that now. Who goes to websites? (Editor’s note: hopefully people go to this one) And if you want to hear our albums anywhere in the world you just type our name into your phone on some app and there ya go. Instant. That’s so different than 15 years ago. As for shows … it’s still punk rock bars, flat beer and no earplugs for this band.

Last Chance for More Regrets

Available May 1st on Thousand Islands Records

• Purchase

What were some of the most important things you wanted to get right with the new album that was different to your previous releases?

I think just the quality of the recording was super important. Songs as well of course, but we were sorta plagued with less than stellar recordings throughout our career. Great songs but many didn’t deliver sonically in our opinion. And that was due to a lack of money or time or whatever the case, so this time it was seriously, just keep buying more studio time until this album sounded exactly how we wanted it to.

How did you guys connect with Thousand Island Records?

I think I Instagram messaged Bruno and was like what’s up?! There’s a perfect example of how things have changed. You can get record deals on Instagram now if they like your music lol

Ok so what’s been the most enjoyable thing that’s happened since you guys got back on the road and in the studio?

Touring Japan was pretty totally amazing. Never saw that coming. Great country, great people, great fans over there. Can’t wait to go back. Really looking forward to this spring tour in Ontario/Quebec where we had some great shows back in the day. Looking forward to seeing some familiar faces.

Congrats on the new album guys, look forward to seeing you guys at a show.

Thanks Billy. Really appreciate your support. Hopefully meet you sooner than later.

Watch the lyric video for “Part of the Show”:

Feel Unlucky Punk: 5 records lost in the punk explosion

We could sit here all day and discuss the ethos behind the entire punk mantra but it has been discussed to no end. Instead, we’re inspecting the spiraling consequences of the mainstream upsurge of punk that ultimately peaked in 1994/95. Three years after what many dubbed as “the year punk broke” (1991), the resurgence of the punk subculture back into the mainstream scope was in significant contrast to the 70’s and early 80’s – there was now widespread acceptance. An extension of the earlier indie rock signing spree, 1994 was the pinnacle, underscored by two California bands that saw their popularity rocket into previously unfamiliar extremes. With the success of Green Day’s Dookie and Offspring’s Smash, major labels sought to find continued and similar success in unearthing hopeful bands and signing those who had called the underground home previously.

However, the effects of a genre’s popularity often result in a number of those caught up in the wave to get left behind. Casualties of other people’s success. For one reason or another, glory did not come to them as expected, and the resulting fallout ends with bands disbanding and careers changing. The fallout of an entire movement are far too great to tackle in mere paragraphs. We will instead section the years 1994 to 1996 as a small example of these fleeting successes, a time during and immediately after Green Day and the Offspring opened the floodgates to the modern punk underground. We circle five records that the major labels released; all of which merited success in many ways, but undoubtedly lacked the mega-sale attraction their financiers had hoped for. In a different time, under different circumstances, these records would have led to more, but in the shadow of platinum records these albums just did not pay back their investment. At the height of major label power, that was the death knell for many bands.

Here are the 5 records lost in the post-1994 scramble of punk’s mainstream success.

05. Hog – Nothing Sacred
(Geffen Records, March 1996)

Los Angeles punk band Hog were fueled by frontman Kirk Miller’s monstrous anthemic handiwork and the band’s love for melody, Nothing Sacred was a blast of a time. It was a simplistic record yes, one that relied on crunchy alternative rock riffs and soaring melodies, but one that was as easily digestible as it was loud. Miller’s raspy voice rang clear in “Shut Down” and “Walls”, providing guidance for the band’s heavily distorted appeal. Perhaps in an attempt to sustain a level of ingenuity, they combined honky-tonk fragments with aggressive punk riffage in “Don’t Know Why” and took on punk acoustic in the terrific country-bluegrass fueled “You & Me”. There was no love from the public however, as stints on the Black Sheep soundtrack and limited airplay did little to bolster the band’s success. Nothing Sacred was the band’s only offering.

I wore out my cassette tape copy of Hog’s Nothing Sacred it was so good. The title track is fantastic in particular, but there are so many great songs on this album, like the aforementioned “Walls” and “Not Perfect”. To this day I still go back to this album as the perfect windows down highway album because sonically, it sounds like a damn rock record. If you ever come across this album somewhere in a record shop and you like loud guitars, melodic punk, and some attitude, don’t hesitate to spend the money on it.

Stream: Hog – “Shut Down”

04. Waterdog – Waterdog
(Atlantic Records, October 1995)

Atlantic’s pop-punk flag carriers depended greatly on Green Day’s popularity to carry over. This self-titled disc was surprisingly accessible (bolstered by radio-ready tracks “Can’t Let Go” and “Jessica”) but ultimately lacked a strong connection to the recently converted masses. Unlike the Berkeley trio’s unabashed, juvenile visage, Waterdog relied on slightly more cultured lyrics and less simplistic chords, but kept true to mainstream pop-punk’s then alternative sound. Waterdog was a band that had the chops and the songs, but for a myriad of reasons, just couldn’t find their ground in a crowded radio field. After the dissolution of Waterdog, members of the band spent time in (ironically enough) Mike Dirnt’s project The Frustrators.

This album was not the best produced but had some great songs- most notably the closer “Good-bye, Good-bye”, and the track below “Jessica”. I still like listening to this song today and while it isn’t as loud or as urgent as Hog’s Nothing Sacred, had plenty to like, especially if you enjoyed pop-punk with a less bouncy appeal. The band came and went after only one album, but who knows just what they could have done during a different era.

Stream: Waterdog – “Jessica”

03. Samiam – Clumsy
(Atlantic, August 1994)

Amongst their respective discography, Samiam’s Clumsy can easily go unnoticed. Their foray into the majors did not end here but unlike some of their kind, Samiam lasted through all the troubles and are still around today. Their creative blend of chunky pop punk components with more rock-oriented mechanisms resulted in their fiery guitar powered focus. Keen on quality vocal delivery and constantly trying to rework their musical progression, Samiam are front runners of pop-punk/rock with definitive style and substance. Clumsy however, is far from being their definitive work, but thankfully, major label misteps aside, they got even better after their foray into the majors. Albums like You Are Freaking Me Out and their 2000 release Astray, proved that there was life after the majors. Clumsy was the only album they ever did for Atlantic.

Sergie Loobkoff of the band also spent time in seminal emo band Knapsack as well as indie rock band Solea. I had a chat with Sergie Loobkoff about Solea back in 2002 about his then-new band.

Samiam are one of the lucky few.

02. Jawbreaker – Dear You
(Geffen Records, September 1995)

Pulled from shelves just months after its release, Dear You is a painful reminder of the fickleness that saturates the major label landscape. Far more restrained than their previous work, Jawbreaker’s (then) final release is as mysterious as it is admired; a defining example of bad things happening to good bands. Almost completely disappearing from North American retail stores (and most definitely from the Geffen catalogue), it has been the scourge of punk record collectors who have been unsuccessful at securing a copy. Featuring the classic Jawbreaker track “Jet Black”, Dear You was re-released in 2004 via Blackball Records. After Jawbreaker’s initial break-up, Blake Schwarzenbach went on to form one of my favorite bands, Jets to Brazil.

Dear You is not such a lost commodity since its reissue. However, it’s still a fascinating example of how the majors reached deep into the underground to try and replicate Green Day’s success any way they could. Dear You was a real step away from previous Jawbreaker material and the commercial results were unfortunate. In the Jawbreaker discography, it isn’t the easiest of records to get in to, partly because it was a shift from what the band were known for. But in hindsight, it’s a shining example of a band exploring new surrounds while jumping head first into the major label game.

In 2017, against all odds, Jawbreaker reformed. Remarkably, there is new music on the way. New Jawbreaker. In 2019. Who would have thought post Dear You?

01. Klover – Feel Lucky Punk
(Mercury/Polygram Records, August 1995)

Featuring members of legendary Boston hardcore outfit Gang Green, Klover epitomized all that was the spirit of a misunderstood generation. Leering like the Buzzcocks, influential like the Jam and embodying the youthful enthusiasm of early Social Distortion, Feel Lucky Punk was an immensely competent release. Confidently portraying ideas of rebellion, social rejection and an underlying cause for unity, it was a record that exuded all that was great of the punk movement. Strengthened by the “Basket Case”-like “Our Way” (how did this song not resonate with the radio crown? I just don’t know), the gang vocals of “Beginning to End” and the truly wonderful cover of the Real Kids’ “All Kindsa Girls”, Feel Lucky Punk is a real gem that deserved far more than it received. The album sounded great, the songs were exactly what you would expect from a shiny, major label punk release- everything seemed poised for success. It never came. Klover disbanded in early 1996 after just one album.

If there was ever an album so commercially ready to be big, it was this one. Mercury Records didn’t do anything for the band, and the songs here were relegated to used bins in Tower Records all around the world. Too bad because there is so much good material on here, so much of it is still so listenable today (you could argue that it holds up better than a lot of mainstream punk of the last decade). Their cover of “All Kindsa Girls” is still one of the best covers you’ll hear. However, it is the opening track “Our Way” that really sets the tone for the album and remains one of the best things not to have been huge.

Stream: Klover – “Our Way”

The New Year: An interview with Nude Shoes

Andy Katz has been through a lot these last couple of years. He’s seen the end of a musical project and dealt with on-going health issues, all of which facilitated time away from the hectic world of writing, touring and performing as a musician. Yet as life wielded obstacles at Katz, he found a way to get back up. He battled through, found new musical ground and called some friends and started a new band called Nude Shoes. They recently signed to Philly-based Know Hope Records and have just released their debut EP Suburban Ceremonies.

Like any good redemption story, it’s filled with introspection, pain and hope. And like any good redemption story, it’s only the beginning.

We spoke to Andy about his new band and what’s in store for Nude Shoes.

Congrats on the EP release, how does it feel now that it’s done and available for everyone?

I am so so happy it’s done! I do miss the process though. I am writing again now so it feels great to be crafting new ideas. I hope everyone loves it as much as I did creating it. 

Tell us how Nude Shoes came about and some of the reasons why you decided on the new project.

So this project was in response to a flare up (relapse) I had concerning my battle with ulcerative colitis. I needed to find an outlet to cope and starting a new project and writing again helped a lot. Those days spent writing and revising eventually turned into songs. I am incredibly fortunate enough to have friends who are wonderfully talented musicians with access to tools I don’t have. My buddy Pat Risi and his studio, Bear Away Studios is the reason this record and band exist. Without his guidance, I wouldn’t have this EP. I work with him to this day. 

How did you get the rest of the band together?

On this record, my buddies Tom Risi and Charlie Cohen of As Always (also from NJ) played bass and drums respectively. My buddy, Adam Cichocki of Gatherers and Timber Studios played drums for the last two tracks. Pat also plays additional guitar tracks on the record too. I have a band (more official details about that soon) that is getting ready to hit the road with me and play shows. A lot more will be announced really soon!

What were some of the records and bands that shaped you as a musician? 

New Found Glory, Transit, .moneen., and Senses Fail are huge influences on this record. Mike Kinsella of American Football and Owen is my all time favorite guitarist. Huge influence on how I play and the tunings I use. At Home With Owen is my all time favorite record. 

2017 was a tough year, what are some of the most important things you learned from it- as a musician, a person?

That year taught me to appreciate the times when I am healthy. Fortunately, I am doing well now. I appreciate this time and cherish all the things I can do without thinking of my stomach and how limited I am when things get bad. Without the support system of my girlfriend Ash, and my friends and family, I wouldn’t be able to get through anything. I owe my life to them (and to my gastro too!)

Love the EP. “Mental Stencil” is my favorite- do you have a favorite song?

Thank you!! That is my favorite track too. Jesse Cannon mixed the record and he executed it perfectly. That song was fun to write and sing. My buddy Kyle was there while I was singing that track. I remember him telling me jokes between takes. It was the hardest song to track so having some comic relief helped. 

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Listen to “Mental Stencil”:

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Was four songs a conscious decision?

Yes it was. I wanted to give folks a sample of what this band will be. 4 just seemed like a good number. I wanted to do 5 originally, but when these tracks were done it felt complete. 

Suburban Ceremonies is a very personal record- was there any trepidation with being so honest and open on the record?

Honestly there was, but I am an open book. I wear everything on my sleeves to a fault. I think “Gamma Jack” was the most scary track to write lyrics too. I am open with my illness but being open about my anxiety was tough for me to write. 

How did you connect with Know Hope Records? They seem to be working with a host of great up-and-coming bands and artists like yourself.

I am huge fan of Post Season, a band on their roster and found Know Hope through them. I decided to take a chance and email Shawn. At the time, I only had two tracks completed (the other two were completed soon then after). He got back to me and we have been working together ever since. I am so thankful to be on Know Hope. This label has been a guiding light and the artists they have on roster are immensely talented. It is an honor to be among them. I am so grateful to Shawn and Jordyn for taking a chance on me. 

What are the plans for Nude Shoes in 2019? Is there a full length in the works?

Shows shows shows. I am eager to play out and hit the road. I have been playing lots of shows solo breaking down these songs acoustically. They have been awesome and I am ready to play as a full band too. I have some tours in the works for the spring and summer. As per a full length, I would absolutely love to do one. I am writing again and have been hitting the studio so we will see! 

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Nude Shoes’ debut EP Suburban Ceremonies is out now via Know Hope Records.