Two Disappointments - New Jimmy Eat World and Coheed & Cambria

[SuperDuck]

Recently both Jimmy Eat World and Coheed & Cambria released new albums. Both have been a long time coming. It's been interesting to see the progression of both of these bands. They were both relatively obscure "indie" bands (whatever that means anymore) and ended up going to major labels, for better or worse.

"Chase This Light" by Jimmy Eat World

Jimmy Eat World is a good example of a band that found the formula that worked and ran with it. After releasing proto-emo (remember when that label wasn't a bad thing?) hits like Clarity and Static Prevails, Jimmy Eat World produced one of the finest albums in my collection, Bleed American. This album was a last-ditch, self-funded effort, which showed in its sincerity and execution. Recorded without a label and the possibility of ever seeing the light of day, it ended up as their breakthrough album.

Unfortunately, their breakthrough hit was the saccharine "The Middle", power-pop as per Webster's. This isn't bad in itself; it fit well with the album, but it also set the stage for the disappointing Futures album.

Chase This Light ultimately sounds like the lost B-sides to Futures. I had a slight glimmer of hope -the first track's opening is nearly identical to the bands song "Opener", from many many years ago. The perhaps unintentional homage to their earlier days ends in seconds, however, as they segue into the forced-to-be-heavy-sounding "Big Casino".

There are high points, to be sure. Occasionally Jim Adkins shines through with some emotion that harkens back to the day of old Jimmy Eat World. "Here It Goes" and "Let It Happen" are both well-written songs that are shining examples of what this album could have been. The rest are eminently forgettable pop songs that follow the directions as laid down during the Futures sessions.

Jimmy Eat World found themselves in the undesirable predicament of either "continuing to rehash the same sound" or "move into a new directions that the fans might not favor". The Catch 22 is that doing either will have fans up and arms, and NOT doing either will have people angry as well.

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"Good Apollo, I'm Burning Star IV, Vol. 2: No World for Tomorrow" by Coheed and Cambria

Coheed & Cambria are quickly becoming scenester darlings and a large-scale media empire, stretching from CDs to DVDs to animated shorts to comics. Good Apollo, I'm Burning Star IV, Vol. 2, etc. etc., concludes the loosely conceived story of the characters Coheed and Cambria for which the band is named.

Part of Coheed's charm was that they did what they wanted to do, which is make semi-corny and thematic sci-fi rock. Eccentric, to say the least, earlier albums were catchy though not immediately accessible to casual listeners. Between Claudio Sanchez's piercing, Geddy Lee-esque vocals, oddly structured songs, and incomprehensible lyrics, the first couple of albums were there for the nerds and geeks who get off on all of the aforementioned traits. The genius and heartfelt debut, Second Stage Turbine Blade, was followed up by the less inspiring In Keeping Secrets of Silent Earth: 3, an album that felt rushed and loose, most likely due to its writing during Coheed's busy touring schedule.

Good Apollo Vol 1 followed, a fantastic album that breathed new life into the band. Their first major label release (Sony) benefited from top-notch production and a general feeling of cohesiveness that I've always felt contributed to what makes a "good album".

Good Apollo Vol 2 starts off on a sour note, with the notable absence of any reference to the memorable "Coheed Theme", for lack of a better name. It's a small omission, to be sure, but one that's immediately noticeable to long-time fan who might be disappointed as I was.

Much like Chase This Light, there are a few songs that stand out, but most of them blend into the background. "Feathers" and "The Running Free" rise above the rest of the tracks, as well as "The End Complete II: Radio Bye Bye". The other songs don't show the same amount of progression in the band's songs as their previous albums.

Claudio's vocals continued to change, with new effects and layering being added into a choir of high-pitched cacophony. His over-the-top singing style is as over-the-top as ever, sometimes reaching levels in which it sounds a bit contrived. Still, he has an original style that few can claim to (be able to) copy.

I was actually expecting the end of the grand story arc to be much more "epic". The band has written some grand compositions - the conclusion to In Keeping Secrets is probably the best example of their grandiose writing style. The album ends similarly to Good Apollo Vol 1, with a 3/4 time "jam-style" song that wanders and serves as an anti-climactic finale.

Good Apollo Vol 2 is a good album, but I would not call it a strong album. I don't think it has the long-term listenability (sure, it's a word) that some of their previous albums. The band will conclude their story arc a la George Lucas by writing what will likely be a multi-part prequel. It should be interesting what direction they will take their future works.

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I eagerly awaited both albums, and each left me saying "meh". Coincidentally enough, both Jimmy Eat World and Coheed & Cambria are playing on the bill at a show in December, which I will be attending. Thought both will be pushing their new albums, I look forwards to hearing some classics from their earlier catalog.

If you've bought either of these albums, please share your impressions.

[lemur821]

The Coheed is meh. All the musical reasons to listen to them are gone in the latest album. Sounds phoned in. I'm suprised you didn't like In Keeping Secrets though. Many people think that's their best album, or at least on par with SSTB.

[SuperDuck]

I think that In Keeping Secrets was a good album (2113 rocks my socks), just not as good as their first or third. I think they had classic "second album" syndrome: the first album is years of blood, sweat, and tears, that they were able to hone before they finally had a chance to record it. Once the album got positive reviews, all of their time was spent touring and promoting, which is a huge drain. Before you know it, it's "get that second album recorded!" and the band is thrust into the studio.

After learning from the second album, the band usually learns from that and decides to take some time off between touring and the third album, which is what I believe Coheed did. Watch how some of your favorite bands progress throughout their career; you'll probably see it a lot!

[Baryonyx]

I don't expect much from either of those bands.

[Infernal Affair]

Originally Posted by SuperDuck

Jimmy Eat World is a good example of a band that found the formula that worked and ran with it. After releasing proto-emo (remember when that label wasn't a bad thing?) hits like Clarity and Static Prevails

Even back then, and before then, it was a bad thing. Ask Moss Icon or Rites of Spring. I'm not that keen on the "proto-emo" moniker as bands like the two I mentioned earned the E-word long before JEW was around.

I haven't heard the new album yet, but I heard one of the new songs on the radio one day and thought it was pretty good. Didn't know the title though. I'll check it out, but at the same time I'll be wary since I don't expect it to be as good as Bleed American.

[Mitchell Royce]

I think very few artists are ever able to write more than an album full of great songs in their lifetime and even fewer ever make that album. I can't think of one band that was ever consistent in their output.

Personally, I think JEW made wrote a few great rock songs and C&C have never inspired more than indifference in me. I would never expect of them to release something great(though JEW came closer with Bleed American).

[lemur821]

Originally Posted by SuperDuck

I think they had classic "second album" syndrome: the first album is years of blood, sweat, and tears, that they were able to hone before they finally had a chance to record it. Once the album got positive reviews, all of their time was spent touring and promoting, which is a huge drain. Before you know it, it's "get that second album recorded!" and the band is thrust into the studio.

After learning from the second album, the band usually learns from that and decides to take some time off between touring and the third album, which is what I believe Coheed did.

Their third album was more like "what the hell are these guys doing" to me. All bright and pointy, and way too much "studio magic" sprinkled in (the '00s aesthetic). On top of that, it came on much stronger, sonically, than their previous albums. While the others had depth, Good Apollo, had only a brittle surface. The latest album stepped back from the brink a little in that regard, but I think it's meh on a compositional level. It's got some fun lyrical allusions to their other albums though.

Anyway, I don't mean to turn this into a Coheed thread.

[Phantopeth]

I agree completely with the "meh"ness of Coheed & Cambria's new release. I too was dissappointed that there was practically no use of the Coheed & Cambira theme (except for the shortest of teasers towards the end where you can hear the first 3 notes of the violin part between tracks). The 3/4 jam sections at the end of both Good Apollo's are basically Pink Floyd tributes, though; they do have a rhyme and reason. Floyd being a concept album band, and all.

Feathers is a great song though: the chorus is just delicious. Taylor really knows how to use the bell of his ride I also particularly like the the title track, as well as Gravemakers and Gunslingers. I'm not too keen on The Running Free, though. It's alright, but it feels to me like it wants to be A Favor House Atlantic ver. 2.0.

Side note: I can't quite understand people's feelings that In Keeping Secrets was "less inspiring," "felt rushed and loose," or that it was below Second Stage or Good Apollo Vol. 1. As much as I love Second Stage, I whole heartedly feel that In Keeping Secrets is their best album to date. The production quality is great, great quality of material throughout, the flow of the album as a whole makes sense and is cohesive, and the balance between 'proggy-ness 'and 'just plain enjoyable to listen to' is amazing... to each his own