A band whose biggest song is against writing oneself off always has work to do. But the album on the whole is a solid, self-aware addition to Jimmy Eat World’s catalog, and if the band’s modest strivers’ outlook has proved anything, it’s that there will be another. By Surviving’s terminus, listeners might find themselves wanting more risks. recording another “Goodbye Sky Harbor,” that loitering Clarity closer that would take up nearly half of their latest album’s length. It’s hard to imagine this iteration of J.E.W. At six minutes, it somehow still feels a little short. As an outright album, Jimmy Eat Worlds no-frills debut isnt great. “There’s no clarity in front of me,” Adkins sings on that song, which serves as a sort of curtain call. For now, lets take a jaunty stroll down memory lane and relive Jimmy Eat Worlds. It was designed to be comprised of Singles, Fan Favourites, B-Sides and Rarities which the communty agreed upon best encapsulated the band and what the fanbase loves about their music. AFI frontman Davey Havok, who appears on the album finale “Congratulations,” also appears via iPhone. In mid-to-late 2020, the r/JimmyEatWorld community came together to collaborate on creating a compilation album, spanning the Jimmy Eat World catalogue. They’re conscious when they sound too slick for their own good: The opening acoustic guitar riff on “One Mil” was recorded on Adkins’ iPhone mic in his garage. Bleed American has confirmed Jimmy Eat World’s place at the top of the emo tree, nestling easily alongside Weezer and The Get Up Kids. The album mixes a wide range of musical styles and is all the better for it. The band’s shortest LP to date, Surviving moves at a quick clip, losing some of the polish from their last outing with Meldal-Johnsen. Jimmy Eat World have produced an album that is breathtaking, beautiful and brilliant. “You’re not alone in pain/Never alone in pain,” Adkins sings on the album’s title track. Lyrically, Surviving is as sincere as their past efforts but less specific. The track, which considers staying away from the party rather than at it (“Who really says they hope they’ll meet ‘the one’ for the first time at a bar drinking early?”) is one of the more personal allusions to recovery from addiction that Adkins, sober for six years, ventures here. James King, co-founding member of Fitz, shows up for a saxophone solo on “All The Way (Stay),” just like he did on the Meldal-Johnsen-produced M83 sparkler “Midnight City.” Longtime collaborator and former touring member Rachel Haden, of that dog., contributes backing vocals. Meldal-Johnsen addresses lacunae in frontman Jim Adkins’ operative knowledge of synth sounds, as on the U2-evocative “555,” an album outlier which features some Fitz and the Tantrums-like hand-clapping. On Surviving, the producer guides the band’s instincts towards a heavier sound, letting noise from their guitars and Zach Lind’s drums decay. Their latest reunites them with Justin Meldal-Johnsen, the producer for M83 and decades-long live bassist for Beck who worked on their triumphant last album, 2016’s Integrity Blues.

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