Though their punk pedigree is quite respectable, the members of Jimmy Eat World have always aspired to be much more than just another bunch of mohawked vagabonds. In an infamous Spin article published a few years ago, a press agent for the band was quoted as saying that JeW are "looking more to become the next Radiohead than the next Rites of Spring." That statement suggests that while the band thoroughly appreciates and relishes its roots, they know damn well that they have the drive and talent to ascend to a higher level. It was that drive and talent that landed them a deal with Capitol Records, for whom they released a pair of exceptional albums (1996’s Static Prevails and 1999’s near-masterpiece Clarity) before being dropped by the label in the Fall of 1999.

Bleed American immediately makes it clear that the band is back, stronger than ever, and actively seeking the success that until now has remained just beyond their grasp. They've signed to the ever-vigilant Dreamworks Records (home of Elliott Smith and Rufus Wainwright, among others), whose aggressive promotional campaign just might break JeW in a radio/video market that's sorely in need of fresh blood.

To suggest that Bleed American is radio-ready is, to say the least, an understatement. Jimmy Eat World’s sound has always walked a fine line between punk-inspired bombast and a glossy, studio-polished classic pop sound (a fact due in no small part to Mark Trombino's production) and Bleed American is certainly no exception. From the sucker punch hooks of the title track (and first single) to the power-fuzz glow of album closer "My Sundown", the record smacks the listener square in the jaw with a devastating barrage of buzzsaw guitars and sickly sweet melodies. Singer/guitarist Jim Adkins’ high-register croon has always been JeW’s weapon of choice, and on Bleed American, they've pulled out the heavy artillery. The crunchy "A Praise Chorus" will undoubtedly go down as one of the strongest songs in their ever-expanding canon, its crashing cymbals and dueling guitars giving way to a soaring Adkins-led chorus that just screams "anthem". They expose their ragged hearts on a pair of heartfelt ballads, "Hear You Me" and "Your House", then steal a page or two from the Thin Lizzy playbook on the explosive twin guitar rave-up "If You Don’t. Don’t". As usual the rhythm section of Rick Burch and Zach Lind is stellar, anchoring tracks like "The Authority Song" and "The Middle" with a powerful combination of precise drumming and shifting bass figures. But as good as Bleed American is, a pair of gems all but steal the show.

The mesmerizing "Get it Faster" is a hit single waiting to happen -- its strum-to-scream opener and barreling riffs combine with a hyperactive rhythm to create a song that’s guaranteed to stick in your brain for weeks. "Sweetness", on the other hand, is already in the running for song of the decade. A soaring rocker that’s sure to become a live favorite, "Sweetness" finds the band firing on all cylinders...and then some. Adkins is in perfect multi-tracked voice as guitars rage and a ragged piano line slips in and out of the mix behind him. "Sweetness" deserves to become a bona fide classic -- an anthem on a par with Cheap Trick's "Surrender" or Big Star’s "September Gurls".

While it's unlikely to usurp the majestic Clarity as everyone’s favorite JeW album, Bleed American is a defiant gesture from a band that has experienced its share of hard luck and come out stronger in the end. Jimmy Eat World’s star is undoubtedly on the rise; exactly how high it goes is entirely up to them.