“You With Me” still feels like four guys in a room. And yet the modesty that would often dulled and sanitized Chase This Light and Damage provides necessary heft on Integrity Blues. Every element of Zach Lind’s drum set is tweaked with crackling EQ and Rick Burch’s bass is a pulsating synth bubble. Falsetto harmonies channel an ultralight beam through stained glass, sounding closer to the synth-prog hosannahs of Mew or Passion Pit. The guitar that opens “You With Me” is almost comically opulent, like a harp strung with liquid crystal and wrapped in icicle lights. Meldal-Johnsen is perhaps best known as the producer and bassist for M83-a band that sounds little like Jimmy Eat World, but still uses “can you still feel the butterflies” as an operating artistic principle, creating fantastical safe spaces in which teenage melodrama is a life-sustaining renewable resource rather than an escape.Īt least from a production standpoint, Integrity Blues is the exact opposite of what the title promises: it’s a complete fabrication of a four-person rock band, a proudly produced record where barely anything sounds like it does in its natural state. Their new partnership with Justin Meldal-Johnsen on Integrity Blues is both sensible and inspired: he’s worked on recent records for Paramore and Tegan and Sara, acts with emo foundations who are unrepentantly making rewarding pop now and Jimmy Eat World is as much a pop act as Carly Rae Jepsen is emo.
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It led to another precipitous drop in sales and was followed by the streamlined Damage, pitched as an “adult breakup record,” but sounding complacent and AOR enough to soundtrack a date night movie at AMC Cinema. But after Bleed American redeemed Jimmy Eat World commercially, their albums have been increasingly self-conscious and reactionary: the blue-black millennial malaise of Futures led to the peacocking radio-rock of Chase This Light the band reunited with Clarity and Bleed American producer/ donut innovator Mark Trombino for Invented, an ambitious and uneven collection of character sketches inspired by Cindy Sherman and Hannah Starkey photography.
But unlike the other songwriters responsible for breaking emo onto alt-rock radio in early ’00s, Adkins never created a persona that made him inextricable from his music, allowing the audience rather than the author to inhabit the role of the narrator-this is why Clarity and Bleed American have aged much better than unearthed LiveJournals like The Places You Have Come to Fear the Most or Deja Entendu. It does feel odd praising Adkins for taking the initiative to actually write about himself, given Jimmy Eat World’s status to many as emo’s quintessential band.
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