Polaris has been compared to U2 too many times for us to do it again, but the influence is there. But where that could suggest a clean-sounding ballad, here the background guitar parts are distorted and scratchy, lending a dissonance to the music in line with the song’s sentiment. Drugs Or Me is a guitar and piano-based lament over a friendship being lost to addiction. It is one of the band’s best songs.Īfter The World You Love, the album’s lead single – and perhaps its centrepiece – Pain hits like a train, a gnarly rock song in dropped-D tuning that sees Adkins punch equally hard with his lyrics: “It’s a lie/A kiss with open eyes”.įrom here the album turns, and its ambition expands even further, as do the songs both in length and sonic scope. We’re in B here, with the strings tuned down half a step (Adkins and Linton both have specific guitars for live work permanently tuned down this way due to the fact that Kill is far from the only song in the JEW catalogue to feature this tuning!), and the music again builds to a crescendo to match the bursting emotion of the lyrics. Kill starts acoustically, before what sounds like a tremolo’d electric chimes in in the background. Norton’s work with the Foo Fighters is audible here. Liz Phair adds vocals to the former, which builds in the key of F minor towards a Linton solo (more of which to come), a breakdown and then a high-octane conclusion. It’s a theme that returns as the album slows down and expands sonically through the double-header of Work and Kill. Just Tonight works in a similar vein, nodding back to Bleed American, but where that album featured classic quite/loud verse/chorus dynamics, Just Tonight hits hard throughout as Adkins vocals lead us into doing something we know we shouldn’t because we just can’t help it. He made us focus on the getting into and out of different sections of songs – a level of detail that we hadn’t considered before.” “Everybody has a slightly different take on what they like to hear and how they like to get there,” Jim Adkins told Arizona Central, “and Gil was really into the details of things.
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Norton helped to beef up the band’s sound, but also to expand it and get them thinking about how to link elements of the songs together. Initially the band hooked up with Mark Trombino, the producer of all three of their major label albums thus far, but when they felt they needed more time and Trombino didn’t have it, the band ditched an album’s worth of sessions, and eventually turned to Gil Norton, who had previously had success with Pixies and Foo Fighters among others. READ MORE: The Genius Of… Bob Dylan’s Rolling Thunder Revue by Martin Scorsese.But after two years on the road drinking in that success, the band returned to the studio with the intention to make something darker and more widescreen, both in scope and sound. Short, sharp, catchy rockers such as The Middle and Sweetness catapulted them onto mainstream radio and arena tours with Green Day, while retaining the emotional punch of the band’s earlier work.
Jimmy Eat World went from niche emo darlings to riding the turn-of-the-century pop-punk wave when they released their 2001 album Bleed American.
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