Pre-orders for the new Jimmy Eat World album are up on their website. It confirms that the intended release date for the album will be October 21st. Pre-orders get the “most rare” color variant, and it’s Jimmy Eat World, so I’m in.
Jimmy Eat World have released their new single “Get Right” — it’s also up for download on their website.
A couple listings are showing up for a Jimmy Eat World release titled Integrity Blues with a release date of October 21st. The album was produced by Justin Meldal-Johnsen and you may recognize the rumored album title from a song Jim played on his solo tour last year.
Jimmy Eat World have updated their website, “Stay tuned…”
Frances Bean Cobain has posted a very short clip of her covering Jimmy Eat World’s “The Middle” on Instagram.
One of our forum posters interviewed Butch Vig a few weeks ago and shared a tidbit about Butch mentioning he ran into Jim Adkins from Jimmy Eat World:
i had the absolute pleasure of interviewing Butch Vig a few weeks ago and we talked a little about Chase This Light, how he loved what the guys had going on when they started talking ideas, and how he’s still good friends with the band. he then said he ran into Jim the other day, who was in a hurry because “they were on a schedule” and “the record had to be finished by this month”.
Please be true.
Billboard looked at what kind of bump Jimmy Eat World got from the Taylor Swift Apple Music ad.
For their second act, Swift queued up Jimmy Eat World’s hit “The Middle,” (No. 5 on the Hot 100 and No. 1 Alternative Songs in 2002) a track on her “Getting Ready to Go Out” playlist that, she says, she “used to listen to in middle school.” The tune’s bump was even larger than “Jumpman”: between the week before the ad’s April 18 debut and the week after, “The Middle” soared 298 percent in sales and 49 percent in U.S. streams (from 3,000 downloads sold to 12,000; from 614,000 clicks to 916,000) and led to a surprise appearance on Billboard’s Hot Rock Songs chart at No. 16.
Earlier this year Jim Adkins of Jimmy Eat World took part in the Phoenix Rock Lottery and formed a band called Wet Lab. They performed two originals and a cover at the show. They then released the two originals on a cassette tape for charity. You can stream one of the songs, “Lords of Hell,” below.
Five Arizona musicians were matched together at a Rock Lottery in January 2015 and tasked with writing 3 songs and learning one cover song to perform later that same night. Featuring Jim Adkins of Jimmy Eat World, Chan Schulman of Harper and the Moths, Justin Weir of Celebration Guns, Mitch Wyatt of Pinner and Jason Roedl of Mergence, Wet Lab recorded 2 of these tracks and have now decided to share them on a cassette. That’s right, a cassette. Some would call it a “cassingle”.
For this week’s playlist I’m putting together what I call “The Ultimate Setlist.” This is a concept that my friend Mike came up with back when people still made mix CDs. The idea is to give someone a starting place in a band’s discography, basically a jumping off point to the artist’s best songs and biggest hits. The rules are fairly simple: arrange the playlist in such a way that emulates the perfect setlist for the band, and make sure that the playlist comes in under 80 minutes (that was the length for CD-Rs — remember those, from another life?). This week, I’m jumping in with Jimmy Eat World and you can find my picks on Apple Music and Spotify.
Taylor Swift’s latest ad for Apple Music features her selecting Jimmy Eat World’s “The Middle” to lip sync to while getting ready to go out. She mentions loving the song in middle school, and now I feel even older.
Jim Adkins discusses taking a breather from Jimmy Eat World by going solo for the first time, exploring and reinterpreting ‘50s and ‘60s pop music, and why he’s releasing his songs individually instead of as an album.
“Has it really been 10 years?”
That’s a question I’ve been asking myself a lot this fall, because the autumn of 2004 was one of the most important seasons of my life. It was my most paramount musically formative stage. I’d always loved music, even leading up to that season: listening to the radio, making cassette tape copies of my brother’s CDs, playing the piano, jamming the few albums I owned repeatedly in the afternoons after school, downloading tracks off Limewire and making mix CDs. But I never fully understood the impact a song or album could have on my life until the fall of 2004. Until Futures.
It’s always been astounding to me the way that songs, albums, lyrics, melodies, instrumental lines—even album titles or cover art—can become more than the sum of their parts when they collide with the right listener at the right time. In a world full of critical acclaim, “best of the year” lists, and verbose Pitchfork reviews, it seems that we have stumbled into an age of relative consensus. How many publications ranked Frank Ocean’s Channel ORANGE or Kendrick Lamar’s Good Kid, M.A.A.D.City at number one last December? Or went with Bon Iver the year before? Or Kanye West in 2010? Few collective outlets, at least within the inner circle of the big critical players, venture too far beyond the same five or six favorite records at the end of any given year. Sure, those same publications review hundreds and hundreds of albums and hand out great scores to a lot of up-and-coming obscurities, but from looking at the top ten lists scattered across the web each year, it seems like the idea of an objective “best album of the year” is becoming more and more corporeal.
Frontman Jim Adkins discusses Jimmy Eat World’s new album Damage, his approach to writing adult breakup songs, being a band for nearly 20 years, and when it becomes necessary to throw all cares out the window.
Only after several years can you begin to notice the influence a record has had. Some may say it takes foresight to know whether a record will become legendary, but there’s no way to really predict something like that. For this Retro Review project, we’re reviewing records that are a minimum of 10 years old – and with Jimmy Eat World’s Bleed American celebrating its 10th birthday on July 18, I can’t think of a better place to start.
The “Class of ’01,” not to infringe on AltPress’ phrase or anything, is very impressive. Bleed American, however, might be my favorite record from that entire year, and it would certainly be on a list of my all-time favorites from the genre. Jimmy Eat World does have a sense of early-decade pop-punk on the album, but it’s infused with their now-unmistakable brand of angst-ridden emo, making it a pop-punk sound no other bands have successfully duplicated. Bleed American was the launching point for Jimmy Eat World’s commercial success as well, spawning multiple hit singles.
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