Few musical groups create genre-defining works. Even fewer manage to do it within the confines of a single album. Though 17 years have passed, American Football still stands as a titan within the emo genre. It deftly blends indie and math rock influences in a novel and intoxicating way, the inventive instrumentation perfectly matching the lyrics of longing, lost love and confusion of youth.
Their second self-titled release, American Football (2016), was announced in late August, and since then has been one of the most anticipated indie releases of the year. It’s composed by the same lineup from 17 years ago: frontman Mike Kinsella (also known for his work in Cap’n Jazz and solo project Owen), drummer and trumpeter Steve Lamos and guitarist Steve Holmes. Following monthly releases of singles from the album, the entire long player (LP) was released Oct. 28.
One of my main concerns about reviewing this album was my affection for its predecessor. I didn’t want my point of view to be skewed by the original American Football (1999). Eventually, though, I realized that bands can and should be held to standards of their own potential, especially when these artists, doubly so for Kinsella, have been driving forces in the genres they touched. With that in mind, I listened to the album.
“Where Are We Now?,” the first track, opens with two slow, interlacing guitar melodies that swell in volume before Kinsella’s voice eventually croons its way into the frame. The vocals are noticeably mixed in a manner that puts them at the fore, making the already refined vocal performance of the frontman feel all the more clean and subdued. This becomes the first of many departures from their previous work. But, gradually, the rolling drums of a seemingly odd meter kick in and some semblance of familiarity appears in the instrumentation. One can even begin to hear a thin layer of distortion placed on the guitars near the climax of the song, which, if not in classic American Football style, could have at least been indicative of some greater energetic moments later on in the album. When listening, I thought they might have just been saving their punches.
But I was wrong. This song held about one of two energetic moments on the album. Not that this fact in itself is the problem — it’s just that neither of those moments felt compelling. It was like those punches had been saved for nothing. Despite these flaws, I wasn’t ready to cast final judgement on this album; quieter moments can easily be more subtle, nuanced and alluring than the louder counterparts they’re thought to build into.
Yet that’s where this album becomes very much hit or miss. The second track, “My Instincts Are the Enemy,” feels emotionally hollow despite the charge that its name seems to signify. It has some decent guitar phrases, but the vocal delivery falls flat with uninspired lilts and occasional harmonies. In fact, this general description can be applied to multiple songs on the release — ”Home Is Where the Haunt Is,” “Give Me the Gun,” “Everyone Is Dressed Up,” etc. The songs I liked appealed to me not because of their ingenuity or nuance, but purely because I found some of the slow-rolling, mesmerizing melodies catchy, like in “Born to Lose” and “I’ve Been So Lost for So Long.” The drums roll and the guitars dance within unassuming melodies — in these cases, the simpler approach works.
American Football took their signature sound and spun it with this subdued indie, pop-punk angle to appeal to modern tastes, which feels strange because they pioneered the sounds that contributed to said tastes. It’s clear that American Football isn’t thinking in the same creative mode that was successful 17 years ago on American Football (1999).
I don’t have many strong negative feelings about the contents of this album, but I have even less in the way of positive sentiments. American Football is free to move in any musical direction they wish, but this effort leaves me feeling disengaged. Yes, evolving musically is fine, but on this release it feels as if the group is moving toward something more base and unplanned. A return to that original innovative spirit, regardless of how it manifests itself, seems in order.
Grade: 2.5/5
Associate Editor | devin.bog@emory.edu
Devin Bog (20C) is from Fremont, Calif., majoring in biology and political science. He loves music, learning new things and the natural light on the main floor of Atwood Atwood Chemistry Center. Bog previously served as Arts & Entertainment editor.
