and six years after out of the vein, here we are. one of my personal favorite bands of all time, third eye blind, has FINALLY released their fourth full length album. anybody who was ever a fan of this band should really have nothing to complain about.
everything about the band is on point and the production is classy and elegant, and the production is stellar.

a few points in the history of ursa major:
-it was once titled the hideous strength
-it has been pushed back several times (years)
-there are completely new versions of songs you might’ve already been familiar with.

in any case, ursa minor will follow in the coming months, but who knows if that project will come to fruition.

hit the jump for the review.

-grizzly

Artist: Third Eye Blind
Album: Ursa Major
Record Label: Sony RED Distribution
Release Date: August 18, 2009

It seems like most bands from the 90s have either experimented into oblivion or no longer exist. Third Eye Blind remains one of the seminal bands from the decade that have remained consistent and have released great alternative rock albums far after the general mainstream (see: the same fans who attribute their classic works with “Semi-Charmed Life” and “Jumper”) have undertaken new bands and trends to support.

Their last major release was 2003’s Out of the Vein, and Ursa Major seems to pick up right where it left off. The cult-like following that sells out every Third Eye Blind show have restlessly awaited new material, especially after last year’s teaser EP, Red Star. I mean, three new songs are hardly enough to suppress that sort of appetite.

“Can You Take Me” is a nostalgic and highly energetic reintroduction to the bands, attributing to lines from “Losing a Whole Year” on 1997’s Third Eye Blind. “Don’t Believe a Word” is another spirited 3eb song, using the tried and true formula of Stephan Jenkins embedding his social and political commentary amongst witty quips and power chords. Aforementioned quips are also prevalent in “One in Ten,” a song about the conquests of a straight man pursuing a lesbian.

Huge choruses and singalongs have always been a staple in the Third Eye Blind repertoire. Songs like “Water Landing” and “Sharp Knife” are two prominent examples, the latter of which display the classic slow-burner that the band has seemed to master over the years. These are the exact type of polished alternative-rock songs are what made the 90s so god damn satisfying.

Due to the six-year absence, some of the songs aren’t as new as they may let on. “Bonfire” has been a paramount in their live sets for years, and after hearing various versions on YouTube, it’s hard to be anything less than satisfied with the final product. Similarly, a live version of “Why Can’t You Be” was tacked on to 2008’s Red Star, and after minor tweaks, shows up in full band version on Ursa Major.

The pseudo-rapping on “Summer Town” and “Water Landing” is as awkward and strange as Stephan Jenkins using the word “blowjob” in a song so freely. Despite a few shifty lyrics, there’s very little filler on the record. It’s hard to imagine that the rabid fanbase of the band will find themselves disappointed with Ursa Major, especially in a time when uninspired pop-rock bands are coming out of the woodwork. . Reinventing the wheel doesn’t seem to be in the sights of the band, especially because their candor has always allowed them to remain relevant. Besides, there’s no use in trying to fix what isn’t broken.

Grade: B+

third eye blind on myspace.

preview tracks from ursa major:

third eye blind – “don’t believe a word”

third eye blind – “why can’t you be”

-grizzly