Here’s a quick quiz question – what do Jimmy Eat World and Kylie Minogue have in common? No, forget waistlines and derrières, the correct answer is both ‘artists’ have seen world events nearly derail their career. Kylie’s "Impossible Princess" album freakishly coincided with Princess Diana’s death and, similarly, Jimmy Eat World were poised for a deserved breakthrough when the unfortunately named "Bleed American" arrived just prior to 9/11.
Bad timing aside, the point is Jimmy Eat World are in danger of being a “nearly” band, nearly but not quite America’s hottest rock export. You can’t question their credentials – they routinely deliver enough top end guitar pop to sustain themselves in headier climes – but it hasn’t quite happened for them. Maybe it says more about the emo-rock genre they’ve successfully spearheaded.
For starters, they never appear happy or satisfied with their lot, caught between the urge to rock and their allegiance to melody. Stuck in the middle, they never fully appeal to either end of the spectrum and get squeezed out by poppier and rockier versions of themselves more suited to mass acceptance. It doesn’t take a huge leap of faith to suggest the likes of the Manics before them and The Killers now share plenty of similarities with J.E.W. without necessarily being any better. In addition, emo-ers count success in terms of albums not hits, and value cult status above all, patiently acquired through old-fashioned hard work. Just ask anyone from Incubus to Dashboard Confessional. J.E.W. are a textbook case.
So "Futures" eloquently fulfils these criteria without really progressing the band’s standing in any meaningful direction. For all its merits - the pouting riff of the title track, the Neil Finn influenced "Work" and the wounded "Drugs Or Me" among the best of them – the album packs a punch but only one you can duck because you see it coming.
In short, it's just not ambitious enough, lacking the impact to draw new fans in while just about satisfying those already captivated by the band’s admirable class. Sure, it displays all the right signs, there’s a mature charisma and the songs benefit from the introduction of subtler hooks and yet more killer chorus lines but overall it's rehashing what we’ve previously applauded without deserving another curtain call. It is status quo at best.
So near yet still so far.
