Going back to the 'futures'

Taking on the world seems a big job for any kid, especially after growing up in the late '80s and early '90s with bands like Nirvana and Soul Asylum turning heads around him or her. For four childhood friends in Mesa, Ariz., however, the world seemed to fold before them. Jimmy Eat World, as the band would name itself in 1994, found rock royalty among the post-grunge scenesters and pop-punk generation while transitioning into young adulthood.\nNow the voices for the voiceless -- a quartet of enlightened, technologically-savvy musicians fitting the rock mold instantly -- Jimmy Eat World has won over MTV viewers, as well as progressive teens seeking independence, with hopes of reaching fame and fortune like their "world-ly" inspirations. With its third full-length album, Futures, Jimmy Eat World keeps the torch burning for thought-provoking and melody-soaked, rhythmic anthems.\nThe 11-song album follows the success of the band's 2002 self-titled DreamWorks-released album, of which songs including "A Praise Chrous," "The Middle" and "Sweetness" landed spots on American karaoke bars' "favorite songs" lists. Futures' could do the same within the next year. \nHighlights on the new album include similar high-quality songs fluctuating between harmonized vocal tributes expressing lyrics about looking forward to an unwritten future on the title track, for example, while sidestepping to the quick and choppy, guitar-heavy riffs of single-worthy songs such as "Just Tonight" and the already-popular single, "Pain."\nOther than the hungrily-addictive beat and chorus of "Pain," the other gems of the album might surprise the listener. They include the power-driven, aggressive "Nothing Wrong," which tackles a theme common among youth -- avoiding blame for societal ills. The track also opens another forum for discussion. The lyrics explore standing up for censorship-free entertainment, especially among musicians. The idea of individuality and self-acceptance seems prevalent on Futures.\nAn additional gem on the CD nearly rounds off the selection of songs. Track 10, "Night Drive," sounds less aggressive, yet more testosterone-driven than the other songs on the album. The slightly-erotic tune describes a personal flood of emotion within the context of a moonlit drive, and the repetition of background vocals, droning guitars and steady drumbeats causes the lulling melody to drip on the tongue.\nWith Futures, Jim Adkins (vocals and guitar), Zach Lind (drums), Tom Linton (guitar and vocals) and Mitch Porter (bass) take on the experimental, heavy sound of modern rock radio and turn it on its head. Jimmy Eat World shows how substance, not quantity, sells albums. There are still fans out there who want to own an album worth listening to more than once. Whether while under stress or in a veil of vivacity, Futures will either calm or excite you. Nonetheless, the album proves indie rock has staying power.