Album Notes

We're a three-piece band from Ypsilanti / Ann Arbor, MI. We've been together since 1998. This is our first album.

*** Review from MacKenzie Wilson, All Music Guide ***

The Jealous Type obviously studied the beautiful chaos of My Bloody Valentine and Sunny Day Real Estate on their debut album, I Blame Everyone but You. The space rock mix of layered guitars and sweeping percussion is trippy, lush, and inviting. The Jealous Type find their own dreamlike soundscape, and the album's 14 songs showcase a band who's tight, but not entirely affected by those who came before them. An emo dynamic surrounds I Blame Everyone but You as well, allowing the album to freely take shape. "My God, It's Full of Stars" and "Jonah Drowns" shimmy and shake with a rough edge, while "1500 Miles Beneath the Earth" bounces along with jaunty guitar licks. I Blame Everyone but You doesn't exclusively stick to one sound. It mixes all hues of passion. The Jealous Type have written straight from the heart and I Blame Everyone but You is ethereally sweet and sour.

*** Review from Tim Anderl, BETTAWRECKONIZE.com

Kevin Shields is dead.

OK, perhaps not literally, but in the immortal words of Janet Jackson, "What have you done for me lately?" Never fear young shoegazer because Ypsilanti, Michigan's reverb junkies The Jealous Type are ready and waiting to take his place and while they are at it, perhaps they'll try to usurp the Pixies!

"My God, It's Full of Stars," "Why Bother?" and "1,500 Miles Beneath The Earth" highlight the trio's strong points.
A cut-and-thrust, half-screamed baritone, which was likely developed while under the influence of Frank Black, and a clear, uptempo bass line drive the tracks. In the meantime, the guitar alternate's between speedy cacophonous strumming (ala Unrest) and bleery, layered guitars.

"Lucky Girl," another stand-out track, starts out with a slow-footed bass solo before the guitar and drums join to form a spacey, slumberous mix. The song continues at this sluggish, dreamy pace for several minutes until the guitar explodes like a sonic weedwacker that buzzes and wha-wha's to its conclusion.

Not to be overlooked is the savvy time-keeping on this record, which is equally expert at producing a Love Spit Love-ish march tempo ("Until The Bitter End") and a big rock battering-ram sound ("Jonah Drowns").

I find it particularly remarkable that these guys recorded this slick, fuzzed-out gem in the drummer's basement (Actually, the bass player's basement - TJT). This is an impressive first full-length and a likely first step in the direction of bigger and better things for these guys.