Released in 1999, indie rock band American Football’s self-titled debut album “American Football” was a landmark moment for the emerging genre of Midwest emo. Characterized by its distinct ‘emo’ voice styling and arpeggiated melodies, the genre often explores themes of suburban isolation, nostalgia and change.
This July, American Football announced that they would be celebrating the 25th anniversary of their debut album by releasing two special editions: “American Football (25th Anniversary Edition)” and “American Football (Covers).” Released Oct. 18, the cover album is a brilliant and tender remaster of its original source material, offering fresh takes on well-loved classics while still remaining true to the heart of American Football.
Each artist approaches their respective track with an incredible degree of sensitivity. Bringing together an eclectic collection of artists from a wide array of genres, the album miraculously retains a sense of coherence and direction while still feeling new and expansive.
Covet frontwoman Yvette Young’s orchestral adaptation of American Football's instrumental track “You Know I Should Be Leaving Soon” introduces the warmth of strings and synths to the finger-picked electric guitar of the original song, turning the track into a slightly more dream-like and playful instrumental piece. Acclaimed for her virtuosic guitar skills, it is difficult to imagine a more suitable candidate than Young for the job. “You Know I Should Be Leaving Soon” twists with nostalgia, memory and a warmth that feels as though it was left behind long ago.
Ethel Cain’s rendition of “For Sure” is a haunting and evocative meditation on adolescent change and love and stands as one of the great triumphs in the album. Her signature vocal layering and drawn-out harmonies expand the original three-minute track to almost 10 minutes. Cain, noted for her ambient and Southern Gothic musical style, imbues the track with an atmosphere of Baptist gloom. “For sure/For sure /For sure,” Cain murmurs over and over, her voice reverberating with the timbre of a Gregorian chant to the crashing of cymbals, steel-toned pedal amplifiers and the echoes of falling synth pitches.
With a slightly more contemporary and electronic-leaning take, Girl Ultra’s cover of “But the Regrets Are Killing Me” ups the tempo, incorporating more synth work and reverb guitar motifs. Closing out the album, John McEntire’s cover of “The One With the Wurlitzer” is studded with digital and static lo-fi details. Replacing the original trumpet with an 8-bit synth and following a repeating drum loop, the cover retains the intrinsic qualities of its predecessor while, like Girl Ultra, adding a distinctive timbre unique to the cover artist.
These artists have introduced a greater sense of melancholy into the cover album. Whether that is due to the atmospheric synth and guitar work or the commemorative and retrospective nature of the album is up for debate. Regardless, the album’s themes of uncertainty in the face of change, ends and beginnings, suburban life and the retrospection of adolescence in one’s twenties remain compelling and significant. Even a quarter of a century later, “American Football” stands strong as one of the quintessential Midwest emo albums.
