Clarity (Jimmy Eat World album)
Clarity is the third studio album by American rock band Jimmy Eat World. It was released on February 23, 1999, through Capitol Records, with which Jimmy Eat World clashed several times while recording their second studio album Static Prevails (1996). The band recorded a follow-up with producer Mark Trombino in May and June 1998, and were free to make it however they wanted without interference from Capitol. The recording sessions began at Sound City in Van Nuys, California, before moving to Clear Lake Audio in North Hollywood, California. Clarity, which is described as an emo, pop punk, and punk rock release, marked the beginning of frontman Jim Adkins' tenure as the band's main vocalist, taking over from guitarist Tom Linton.
Clarity
February 23, 1999
May–June 1998
- Sound City, Van Nuys, California
- Clear Lake Audio, North Hollywood, California
64:22
- Mark Trombino
- Jimmy Eat World
Following the release of Jimmy Eat World's self-titled second EP (1998), "Lucky Denver Mint" began airing on radio in January 1999. "Lucky Denver Mint" and "Blister" were released as singles in 1999; a music video was later made for the former, which was directed by Darren Doane. Jimmy Eat World went on a six-week tour of the United States, and appeared on that year's Warped Tour. In spite of promotion for "Lucky Denver Mint", Clarity was deemed a commercial failure, and Capitol dropped the band in August 1999. The band then toured Europe, and played three US shows before going on a break. Clarity was released worldwide in 2001, where it was promoted with "Lucky Denver Mint" and "Blister". The album has been re-released several times, and has been performed in its entirety by the band on multiple occasions.
Clarity reached number 30 on the US Billboard Heatseekers Albums chart, and peaked at number 47 in Germany. The album received favorable reviews from music critics, many of whom praised the dynamic instrumentation. The album has since amassed cult status and critical acclaim, and has been lauded as one of the best emo albums of all time by publications such as Kerrang!, LA Weekly, and Rolling Stone. Some music critics have credited the album as a huge influence on later acts such as Something Corporate, the Wonder Years, and Chris Carrabba of Dashboard Confessional.
Background[edit]
Jimmy Eat World released their second album Static Prevails through Capitol Records in July 1996.[1] The recording process was hampered by recurring clashes with the band's record label, who insisted the band rework some of their songs and write new ones, and wanted to engage different producers.[2] Static Prevails saw the band shift away from the pop-punk sound of their earlier work, and into post-hardcore and emo.[3] Capitol included two songs on promotional samplers that were sent to programming directors at radio stations; the label said it was part of a development process it had for the band. The Dallas Observer said the sampler and a lack of promotion were seen as the label cutting its losses.[2]
Jimmy Eat World promoted Static Prevails with a short tour of the United States, and a cross-country tour with Sense Field in early 1997.[4][5] A three-way split single was released through Crank! A Record Company that featured Jimmy Eat World, Sense Field, and Mineral, which included an early version of what would become "Crush". Sometime after this, Jimmy Eat World released a split single with Jejune that was released through Big Wheel Recreation.[6] In early 1998, frontman Jim Adkins and guitarist Tom Linton were part of a six-person side project that would have consisted of soft rock material.[2][7] When the project ended, it left behind a collection of unreleased songs on which Jimmy Eat World would later work on for their next album.[7]
Production[edit]
After a week of pre-production, Jimmy Eat World began recording Clarity with Mark Trombino in May and June 1998; the band and Trombino shared the producer credit.[7][8] They were aware of Trombino through his work with Boys Life and other acts the members liked.[9] Capitol gave the band freedom to do what they wanted in the studio; this is attributed to the label having no interest in the band by this point.[2] Recording started at Sound City in Van Nuys, California, with assistant engineer Nick Raskulinecz.[10] The band chose this studio because they had previously gotten good drum sounds on Static Prevails; however, due to its expensive rate, the band only recorded drum tracks there.[8] They spent ten days here before moving to Clear Lake Audio in North Hollywood, California, where they overdubbed the songs over 40 days.[9][11] During the process, the band slept on the office floor of their manager Jorge Hinojosa.[12] Adkins said the studio atmosphere was ripe for experimenting; ideas were explored if they helped the songs. He added, "I would think a song was totally finished and then one of the guys in the band or [Trombino] would bring up an idea that really closed the deal".[8]
Jimmy Eat World approached the recording assuming they would not get the opportunity to make another album, and decided to include a variety of extra instrumentation.[13] Adkins said while recording "Table for Glasses", the band learned "if you aren't doing a lot, it doesn't take a lot to get a big dynamic impact", citing the cello as a prime example.[8] The band recorded two different drum sets for "Lucky Denver Mint", a first for the band. They liked the effect, and also used two sets on "Ten" and "Goodbye Sky Harbor".[8] "Crush" was re-recorded during the sessions.[6] Throughout the recording process, the band wrote more material, and made demos.[7] Trombino mixed the songs at One on One South in Los Angeles, California, with assistant engineers Ron Rivera and Justin Smith, and at Music Grinder in Hollywood with assistant engineer Dean Fisher. Brian Gardner then mastered the album at Bernie Grundman Mastering in Hollywood.[10]
Composition and lyrics[edit]
Clarity has been described as emo, punk rock,[14][15] post-hardcore,[15] and pop-punk[16] with elements of chamber pop and electronica.[14] The album has been compared with the music of Bedhead.[2] Clarity marks the start of Adkins providing lead vocals rather than Linton. With the exception of the song "Blister", from this point, Linton only provided backing vocals on some tracks until "Action Needs an Audience" from the album Invented (2010).[17] Adkins wrote some of the songs, including "Table for Glasses" and "Goodbye Sky Harbor", for the earlier side project.[2][8] Susie Katayama assisted Adkins in writing and arranging the string parts for some of the songs.[8]
During breaks in touring in support of Static Prevails, Adkins worked at an art store, during which time he wrote "Table for Glasses". Adkins learned about shows that featured the work of local performance artists. Adkins was waiting for a friend's piece to begin when he noticed a girl clearing the area with the end of her dress. The girl walked towards a candle-lit table, and "just sat there picking out the dirt from her dress", said Adkins.[8] The slow-tempo opens with a droning organ, followed by a shuffle beat, picked guitar notes, and concluding with a crescendo; the slowcore crawl and harmonies were influenced by the music of Low.[18][19][20] "Lucky Denver Mint" was inspired by a night out in Las Vegas Adkins had with a friend; Adkins was too young to consume alcohol, and instead gambled, eventually spending all of his money. As a result, he spent the remainder of the night "walking around feeling lost".[21] The power pop song includes drum and guitar loops, and is bookended with a drum intro and outro, which were made by Trombino cutting up the drums.[19][22][23]
According to Lind, "Your New Aesthetic" was originally a "very mellow" song but was turned into "a more aggressive, dark rock song".[8] This version was named "Skeleton" because the guitar sections between the verses felt like horror film music to the band; it had different lyrics but Adkins thought he could improve upon them, and changed the lyrics to those of the mellow version.[8] The final version is about the commercialization of radio, and unabashed conformity, showcasing the band's punk roots.[14][22] "Believe in What You Want" is a Police-influenced post-punk track[22] that talks about keeping in mind what is important to one's self, and not getting stuck with unimportant matters.[8] Part of its lyrics refer to dealing with the process of being on a major label, influenced by their interactions on Capitol.[24] On "A Sunday", the band focused on making the chorus sections sound softer and more intimate than the verses. Adkins felt the song's slower tempo helped let the "drums breathe".[8] He wrote it after driving home to Phoenix following a weekend seeing his friends, while reminiscing about a girl.[25] The track includes a Hammond B3 organ, which the band borrowed from Sylvia Massy. Lind theorized Adkins wrote "Crush" when he was living in Flagstaff, Arizona, due to the reference of snow.[8]
The title of "12.23.95" is a reference to Little Christmas Eve; it was made in the living room of Adkins' parents' house, consisting of a drum machine, and a tiny recording set up.[8][26] Lind went round with a Dr. Rhythm drum machine while they were demoing material. He began pressing buttons, the drum patterns played at random. The band wrote music around it; the droning guitar that is heard was made by Adkins as he was playing the guitar tracks backwards, recording them on to a separate tape, and adding them back in. While in the studio, the band were unable to come up with a better drum sound, and ended up using the one from the drum machine. With "Ten", the band opted to use different drum set ups for each section of the song, as they had done with "Lucky Denver Mint". A loop is featured throughout the track, with Lind playing a different kit during the chorus and bridge portions. "Just Watch the Fireworks" began as a slower, ballad-esque type song, until Trombino suggested changing it to mid-tempo.[8] The final version is drawn out by Katayama's and Joel Derouin's string parts.[13] The power ballad "For Me This Is Heaven" uses a number of rhythmic parts, which was the result of Lind and Trombino playing with a variety of hand percussion instruments at their disposal.[8][22] Adkins remarked: "They were wheeling in timpani when we realized we had taken it a little too far."[8] Mia Huges of Spin said it was a "love song that’s about endings, and believing that love is worth it, despite their inevitability".[27]
"Blister" recalls the melodic punk aggression of Static Prevails.[13] Adkins said fans have asked why it is the only track on the album to feature Linton on lead vocals; "I think in leading up to Clarity I started immediately putting words to the music ideas I had. After that happened it was hard to not want to sing it."[8] The title track, "Clarity", includes alternative tunings; Adkins said the band sounded unique, and were not a representation of their record collections. As such, "Clarity" was chosen as the title track.[8] The closing track, "Goodbye Sky Harbor", lasts for 16 minutes and 11 seconds, starting as an up-tempo piece, and eventually shifting to a long section of dream pop and post-hardcore that incorporates layers of electric guitars, vocal loops, a drum machine, and bells.[14][15] The instruments fade out, being replaced with layered vocals that are then joined by percussion and a glockenspiel. The lyric "I am but one small instrument" is heard throughout the song.[28] Adkins said they enjoyed playing the track's main guitar riff, and used a whole tape reel for it. Throughout the sessions, they continued "adding stuff and adding stuff, and it just got really ridiculous. It was basically because we could."[2] Adkins said that he always wanted to work the books he was reading into his lyrics;[29] the song's lyrics were based on John Irving's novel A Prayer for Owen Meany (1989).[30]
Legacy and influence[edit]
Writing in 2003, Andy Greenwald called Clarity "one of the most fiercely beloved rock 'n' roll records of the last decade. It is name-checked by every single contemporary emo band as their favorite album, as a mind-bending milemarker that proved that punk rock could be tuneful, emotional, wide-ranging, and ambitious."[88] William Goodman of Spin described it as a "benchmark emo and pop-punk classic".[16] Clarity has appeared on various best-of emo album lists, including those by Kerrang!,[89] LA Weekly,[90] Louder,[91] Loudwire,[92] Rolling Stone,[93] and Treblezine,[94] as well as by journalists Leslie Simon and Trevor Kelley in their book Everybody Hurts: An Essential Guide to Emo Culture (2007).[95] Songs from the album have appeared on best-of emo songs lists by NME,[96] and Vulture.[97] The 2007 re-release was included on Stylus Magazine's list of that year's best reissues.[98]
Clarity has influenced the works of multiple artists and bands, such as Something Corporate, the Wonder Years, Josh Farro of Paramore, Chris Carrabba of Dashboard Confessional, Julien Baker, Pronoun, Jonathan Corley of Manchester Orchestra, and Heath Saraceno of Midtown.[99] The Starting Line employed Trombino to produce their debut studio album Say It Like You Mean It (2002) as all of their members' all-time favorite album was Clarity.[100] Polar Bear Club posted a cover of "Lucky Denver Mint" on their Myspace profile in 2009, while the Color Morale covered "Blister" for their EP Artist Inspiration Series (2017).[101][102]