“What, like the Bad Brains weren’t emotional? What-they were robots or something?” Other bands acted as if they’d been accused of something unseemly when it came up in interviews, putting as much distance between the genre and their music as they could. “I just thought that all the bands I played in were punk rock bands,” he said. Guy Picciotto, member of flagship emo bands Rites of Spring and Fugazi, said he never recognized “emo” as a legitimate genre of music. Like a Groucho Marx routine on loop, emo was a club no self-respecting punk would belong to. Listening to him sing was like being tuned into someone’s innermost thoughts and hearing them echo off their chest cavity-nothing gets in the way between you and the ache in his voice.īy this point, Jimmy Eat World had been categorized as an emo band. But Adkins’ vocal register also hovers at a considerable distance above Linton’s it is birdsong high, conveying more emotion and energy and way less exhaustion. It wasn’t a conscious choice Adkins just tended to have the first idea for lyrics as the songs were forming in the band’s practice space. Their inner dynamic was starting to change too during the writing of Clarity, their original lead singer, guitarist Tom Linton, whose scorched Jawbox-y growl featured on at least half of Static Prevails, withdrew from the microphone almost entirely, ceding lead vocal duties to Jim Adkins on all of Clarity except for one song. By the time they recorded Static Prevails, their songs were unknown landscapes, the ground giving way to sudden pitfalls. When they were teenagers, they debuted as a skate punk band, but after hearing the glacial prettiness of Denver emo band Christie Front Drive, the spaces between the chords and even the individual notes in Jimmy Eat World songs started to grow. The band’s sound was also in a state of mutation. Organs, synthesizers, vibraphones, and any kind of percussion instrument they could find-including timpani-blanketed the floor of the studio like unruly houseplants. They would record every idea they had in search of this effect. They also assumed this would be the last chance they’d have the budget to make a really big album-not “big” in the sense of volume and speed, but more in the way even a small painting can seem big, the enormity of the subject suggested by how finely-wrought its details are.
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