Thursday, April 24, 2014
Tuesday, April 22, 2014
Been hearing about you. All about your disapproval.
Dear readers. Be a little patience.
Deleted and nonworking archives will be reuploaded to Mega soon, and the blog will be updated with new albums (Jawbreaker discography, Crank!, Caulfield Records releases and many more).
Stay tuned!
Saturday, March 15, 2014
Various Artist – In-Flight Program - Revelation Records Collection '97 (1997)
1. Sense Field - Building (1:35)
2. Texas Is The Reason - Back And To The Left (3:55)
3. Farside - Audience (3:37)
4. The Iceburn Collective - Sphinx (4:36)
5. Shades Apart - Fearless (2:53)
6. Chain Of Strength - True Till Death (2:22)
7. Whirlpool - Wasteland (2:37)
8. Chinchilla - Decoder (4:26)
9. Bodyjar - Glossy Books (3:51)
10. Ignite - Embrace (2:22)
11. Sparkmarker - Chrysanthemum (3:15)
12. Youth Of Today - Break Down The Walls (2:05)
13. No Fun At All - Master Celebrator (2:53)
14. Gorilla Biscuits - New Direction (2:13)
15. State Of The Nation - A Piece (2:48)
16. Beta Minus Mechanic - Sandcastles (2:57)
17. Quicksand - Omission (2:24)
18. Underdog - Say It To My Face (2:12)
19. Judge - Bringin' It Down (1:50)
20. Supertouch - Vendor (2:54)
21. Inside Out - No Spiritual Surrender (2:57)
22. Shelter - Enough (1:54)
23. Burn - Shall Be Judged (2:18)
24. Into Another - To Be Free (3:15)
25. Bold - Looking Back (2:13)
26. Engine Kid - Windshield (3:23)
Various Artist – In-Flight Program - Revelation Records Collection '97 (1997) 320kbps
Saturday, March 08, 2014
Various Artist - A Caulfield Compilation 7" (1993)
Tracklist:
A1 Sideshow - Consume
A2 Germbox - Seed
B1 Mercy Rule - Summer
B2 Molly McGuire - On A Frog's Fog
Various Artist - A Caulfield Compilation 7" (1993) VBR V0
Friday, February 14, 2014
The Evergreen Trio – Lift Up Your Voice (2001)
So after listening to The Evergreen Trio’s Lift Up Your Voice
about six or seven consecutive times at work this past week, a really
disturbing calm settled over me. I found myself at work, daydreaming
about driving out to a cabin in the middle of nowhere, and the only
sounds around me would be the sound of Lift Up Your Voice playing
in my car. Once I got to the cabin, I'd walk inside, put this EP on
repeat, and curl up in a ball and cry by myself for days. Once again,
I'm wrought to bring up the age-old question, "Why is it that the most
stripped-down performances always seem to garner the most emotional
responses?"
The concept behind this CD is so amazingly simple that a monkey could
have pulled it off, provided, that is, that the monkey could play an
acoustic guitar. Over the course of winter 2000-2001, Joe Reina stepped
out onto a cold back porch with an acoustic guitar a few times. Nick
Alberts was there with a tape recorder, and after a small delay for tape
transfers, seven extraordinarily atmospheric and bare-bones tracks were
released as Lift Up Your Voice.
Headphone listening was required at least once before I could claim to
even partially "know" this disc, as the back porch atmosphere plays into
the mix with the subtle sounds of the wind and the occasional vehicle
passing on a nearby road. The whole thing sounds so terribly honest,
like Reina was just walking outside with his guitar and exposing
everything about himself to the cold air, daring nature or anything else
to challenge his feelings.This sense shines through brightest during the second and third tracks on the disc. "My Token Boy" combines a delicate two string guitar cadence with Reina's restrained voice for a dazzling effect. The highlight here has to be Reina's practically tear-jearking Greg Dulli-esque "Ooooooooo’s" before the song ends on a more traditional strummed-chords note. "Bernadette" follows with an almost bluesy lick that practically carries Reina's faltering voice. The track is most powerful when Reina’s voice seems to soar on an unseen strength before almost cracking and breaking down only seconds later.
Lift Up Your Voice may have been recorded in the dead of winter, and the mix here is (intentionally) thin (even for a simple guitar-and-voice recording), but this EP still carries a lot of warmth that can be found under the right listening conditions. I figure this disc will be great for my next big self-reflective phase, but it would work just as well as a quiet, lulling soundtrack for this winter's long, cold snowy nights. Recommended.
gblackwell
Delusions Of Adequacy
"Recorded on a back porch in early 2001, 'Lift Up Your Voice", which is the Evergreen Trio's second full length, is stripped down to just a voice and acoustic guitar. These seven songs bring to mind a time when songs were stories, sung and passed along through the times. With this essentially being a field recording, you get a sense of time and space, hearing the sounds of crickets and even trucks passing by on the highway. All of these circumstances lead to a barren and personal record that is new, yet hauntingly familiar."
The paragraph above, along with the fledgling label's address and a photo of a rather grizzly-looking young man, composes the entirety of this CD's promotional materials. A glance at the sparse packaging yields little additional information other than the name of the grizzly young man in question, Joe Reina. The music contained is similarly sparse--a few strummed chords and a distant voice gently crooning about something that might actually be meaningful if we could hear it over the tape hiss.
The Evergreen Trio takes the notion of "less is more" to the extreme, and as an unfortunate result, some otherwise beautiful melodies are lost under a thick cloud of "lo-fi" artistic posturing, and an even thicker cloud of irritating tape hiss. Mr. Reina would be best advised to leave the minimalist meandering to more capable musicians, and try giving his promising songs the development and production they so desperately need.
The paragraph above, along with the fledgling label's address and a photo of a rather grizzly-looking young man, composes the entirety of this CD's promotional materials. A glance at the sparse packaging yields little additional information other than the name of the grizzly young man in question, Joe Reina. The music contained is similarly sparse--a few strummed chords and a distant voice gently crooning about something that might actually be meaningful if we could hear it over the tape hiss.
The Evergreen Trio takes the notion of "less is more" to the extreme, and as an unfortunate result, some otherwise beautiful melodies are lost under a thick cloud of "lo-fi" artistic posturing, and an even thicker cloud of irritating tape hiss. Mr. Reina would be best advised to leave the minimalist meandering to more capable musicians, and try giving his promising songs the development and production they so desperately need.
D. Pennepali
lostatsea.net
The Evergreen Trio – Lift Up Your Voice (2001) 224kbps
The Evergreen Trio - For All Intents & Purposes (2000)
The Evergreen Trio are an indie rock/emo band from Rockford, IL active
in the late 90’s. The Evergreen Trio play a brand of midwestern
emo-style rock with sincerity and without apology. Think of the melodic
guitar styles of Mineral with off-kilter vocals of Davey Von Bohlen and
the changing rhythm of Joan of Arc. Then throw in some keyboards and
samplings. All with tight, immaculate performance and unabashed
sincerity and honesty.
It isn't too often when a song title qualifies as a beautiful line of poetry. It's more rare when such a song as "These Gas Station Roses Should Tell You Something" is equally beautiful on a musical level. Here, on their first track, the Evergreen Trio lay the blueprint for what they deliver best: sincere, emo-packed vocals and strong melodies that offer both New Order-like guitars and heavy dollops of piano. This approach is continued on songs like "This Day/We've" and the rainy day "Cobblestones & Embassies", while another, equally prominent side of the band shows them to have affinity with Antarctica ("Burt Bacharach Without Dreaming", "Petals and Ashes"), where keyboards replace the piano and create a more new-wavey feel. In each case, they sound more musically exciting than most acts now playing, and it's a slight shame they didn't have the keyboards and piano infiltrate the whole album. By minimizing those touches near the end, on songs like "Will You Wake Me" and "O' This Happiest Day", you get to appreciate the gloss of "electronics" even more, as it shows the Evergreen Trio just an ebony and ivory away from being a merely decent emo-rock group.
splendidezine.com
Someone overheard me listening to this disc and said "this sounds like the Alkaline Trio without distortion and slowed down." I said "ouch." They have a whole different kind of creativity, different intent and purpose in their music. More of a midwestern town reality, not the anger, perhaps the frustration but willing to take the time needed in each song to explain what they mean in a way that they at least can understand. The songs aren’t spilled/spelled out for just anyone and therefore can add meaning for everyone if they take the time to listen.
The sound effects and drum machines add an aspect of electronica to the otherwise emo sound and the only thing that could possibly pin them to The Alkaline Trio is the style of vocals which are also not unlike those of Mineral. At times I even feel as though I’m listening to a piece of the Red House Painters faster paced songs. The instruments are tight except for an occasional intentional looseness to allow space for a personal interpretation.
This album is a late summer listener. Days are just beginning to get shorter, the grass needs to be mowed a couple more times before the leaves are in the way. There is still playing to be done while waiting for the autumn to approach and with it bring a chill and a whole new emotion to the music.
The sound effects and drum machines add an aspect of electronica to the otherwise emo sound and the only thing that could possibly pin them to The Alkaline Trio is the style of vocals which are also not unlike those of Mineral. At times I even feel as though I’m listening to a piece of the Red House Painters faster paced songs. The instruments are tight except for an occasional intentional looseness to allow space for a personal interpretation.
This album is a late summer listener. Days are just beginning to get shorter, the grass needs to be mowed a couple more times before the leaves are in the way. There is still playing to be done while waiting for the autumn to approach and with it bring a chill and a whole new emotion to the music.
JJ Hamon
lostatsea.net
Everyone is using keyboards and other electronic elements these days. It gets so a band that uses traditional guitar/bass/drums sounds incomplete, doesn't it? While using these new-fangled elements to mix things up isn't a bad thing, most bands don't do it appropriately. The Evergreen Trio, however, puts the focus on their traditional rock instrumentation first and uses electronic elements as backing noise or supporting elements. And they do it very well. You've probably guessed from the band name that I'm going to use the word emo in this review. The Evergreen Trio play a brand of midwestern emo-style rock that I still can't get enough of, especially when done sincerely and without apology. Think the melodic guitar styles of Mineral with off-kilter vocals ala Davey Von Bohlen and the changing rhythm of Joan of Arc. Then throw in some keyboards and samplings and couple it all with tight, immaculate performance and unabashed sincerity and honesty. That's why I love this so much. Turn the volume up as "These Gas State Roses Should Tell You Something" starts off quiet, with soft piano and melodic guitar over a low hum of noise. This lengthy song flows along at a slower pace, more pretty than rocking but putting most of the emphasis on the vocals, which really do hit some great high notes. "Cobblestone & Embassies" definitely has more of a Joan of Arc feel to it, especially in the lead and backing vocals, but it has a much more consistent and pop-style flow to it, with great percussion. The keyboards come in to provide a more hushed and contemplative mood on "Petals & Ashes," and it flows seemlessly into the oddly named "Burt Bacharach Without Dreaming." The percussion on "Dance, Academy, Dance!" makes this song, combining traditional drums and synthesized drums with some great guitar and just enough of a pop feel. This is definitely my favorite here, especially as the vocals soar. "A Few Less Sour" is probably the most intense song here, with the percussion really turning things up over a more underscored guitar line. The vocals literally shine on "O' This Happiest Day," soaring above everything and really driving this song. But the Mineral-esque guitars really drive the closer, "Will You Wake Me?" I admit it - I love this band, and I love their style. This brand of music reminds me why I fell in love with that post-hardcore melodic style called emo. It's all about the melodic guitar, the wonderful, flowing songs, the sincerity and honesty. And The Evergreen Trio are probably the best new emo band I've heard in so long. Sure, there are elements of a lot of other bands you're probably already sick of here, but this band puts them together in a way that's fresh and wonderful.
Jeff
Delusions Of Adequacy
Everyone needs to own a CD like this. Not necessarily this one in
particular, but one like this. The Evergreen Trio [who actually have 5
members -- try explaining that one] play extremely heartfelt, emotional,
low-fi indie rock. And they play it extremely well. That's not
supposed to mean their songs are extremely intricate [they're not] or
they're ridiculously well-produced [they're not] or even that their
music is all that groundbreaking [it's not], but that's where my first
sentence ties back in: everyone needs to own a CD like this. The CD
that's perfect for that lazy weekend morning in your room; the CD that
just fits for a long, potentially dreary car ride; the CD that makes you
think about that special person and just why they're so special. These
boys manage to overcome every potential stereotype about their genre
and really put out a solid first CD. I advise you to all watch out for
The Evergreen Trio.
punknews.org
Thursday, January 30, 2014
Saves The Day – Stay What You Are (2001)
On request
Here goes a rendition the classic music critic gripe:
If the world was a "just" place (oh silly critics) Saves the Day would have the career of Fall Out Boy, only with way more credibility. 2001's Stay What You Are is the most radio-ready emo album there is and it's not even that close. It's melodic bliss, yet somehow it just didn't click. Saves the Day was just four years too early. The album came out in the height of pop punk's infiltration of mainstream teen culture, and this album just didn't fit the mold of the Blink-182s and Sum 41s of the world. But hey, as a music listener, I'd prefer that an albumbe unappreciated and great than known and unlistenable.
Atypically, the album begins with a funeral on the aptly titled "At Your Funeral." The track is not as melancholy as one would expect, in fact, musically it's bouncy. Like most of the songs on Stay What You Are it emotes more bitterness than sorrow. The follow-up "See You" features leadman Chris Conley at some of his lyrical best, with vivid imagery that is instantly relatable:
"My gut is burning. Won't you find me some water?
Hey, just forget it can you bring me gasoline
and collect a couple forks, hold them three feet apart
and wait for lightning to strike to burn me up?
Cause I don't think that I have got the stomach to
stomach calling you today."
"Cars & Calories" almost seems like a premonition listening back on it now. It's vicious attack on the falseness of celebrity culture and the obsession with appearance is like a direct critique of people's fascination with tabloids and "reality" TV shows like The Hills. Conley's lyrics continue to shine on "Jukebox Breakdown," which explores the very cool idea of what it means to be a singer through means of an extended jukebox metaphor.
The ballad "Freakish" is the kind of number the band was made to play. It's hopelessly romantic swoonings encapsulate youthful heartache to a T. Maybe it was choosing this song to be a somewhat unconventional single that did in Stay What You Are's chances of success, but it's hard to buy that, because it has one of best music videos SaveFrom.net ever.
"As Your Ghost Takes Flight" and "All I'm Losing Is Me" both feature offbeat guitar parts that instantly catch the ear's attention. "As Your Ghost…" is the most morose and angry tune on the album, as Conley sings of revenge and blood drinking (another missed opportunity, the Twilight kids would eat this up). The songs are just part of the first-class musical variety that Saves the Day's members display throughout Stay What You Are.
With the album nearing it's end things wind down with "Nightingale" and "This Is Not An Exit." They are more delicate, understated tunes which gives them a bit more reflective air. It amazing more songs in the genre are not do not strive for this sound, which fits the downtrodden aesthetic so much more accurately. As Stay What You Are goes out in a glorious burst of flickering flames on "Firefly," one could bemoan a band that had every right to make it and didn't. But that misses the point. Saves the Day made an album the likes of which the bands that followed in their success can't touch. That seems just enough.
If the world was a "just" place (oh silly critics) Saves the Day would have the career of Fall Out Boy, only with way more credibility. 2001's Stay What You Are is the most radio-ready emo album there is and it's not even that close. It's melodic bliss, yet somehow it just didn't click. Saves the Day was just four years too early. The album came out in the height of pop punk's infiltration of mainstream teen culture, and this album just didn't fit the mold of the Blink-182s and Sum 41s of the world. But hey, as a music listener, I'd prefer that an albumbe unappreciated and great than known and unlistenable.
Atypically, the album begins with a funeral on the aptly titled "At Your Funeral." The track is not as melancholy as one would expect, in fact, musically it's bouncy. Like most of the songs on Stay What You Are it emotes more bitterness than sorrow. The follow-up "See You" features leadman Chris Conley at some of his lyrical best, with vivid imagery that is instantly relatable:
"My gut is burning. Won't you find me some water?
Hey, just forget it can you bring me gasoline
and collect a couple forks, hold them three feet apart
and wait for lightning to strike to burn me up?
Cause I don't think that I have got the stomach to
stomach calling you today."
"Cars & Calories" almost seems like a premonition listening back on it now. It's vicious attack on the falseness of celebrity culture and the obsession with appearance is like a direct critique of people's fascination with tabloids and "reality" TV shows like The Hills. Conley's lyrics continue to shine on "Jukebox Breakdown," which explores the very cool idea of what it means to be a singer through means of an extended jukebox metaphor.
The ballad "Freakish" is the kind of number the band was made to play. It's hopelessly romantic swoonings encapsulate youthful heartache to a T. Maybe it was choosing this song to be a somewhat unconventional single that did in Stay What You Are's chances of success, but it's hard to buy that, because it has one of best music videos SaveFrom.net ever.
"As Your Ghost Takes Flight" and "All I'm Losing Is Me" both feature offbeat guitar parts that instantly catch the ear's attention. "As Your Ghost…" is the most morose and angry tune on the album, as Conley sings of revenge and blood drinking (another missed opportunity, the Twilight kids would eat this up). The songs are just part of the first-class musical variety that Saves the Day's members display throughout Stay What You Are.
With the album nearing it's end things wind down with "Nightingale" and "This Is Not An Exit." They are more delicate, understated tunes which gives them a bit more reflective air. It amazing more songs in the genre are not do not strive for this sound, which fits the downtrodden aesthetic so much more accurately. As Stay What You Are goes out in a glorious burst of flickering flames on "Firefly," one could bemoan a band that had every right to make it and didn't. But that misses the point. Saves the Day made an album the likes of which the bands that followed in their success can't touch. That seems just enough.
SethGrandpa
absolutepunk.net
"Hey guys, did you hear the new Saves The Day CD?"
"Yeah, it blows...what a bunch of stupid cry babies."
That has been a common reaction to the new album throughout the punk scene...
Recorded in early 2001, the new STD album, Stay What You Are, takes the band to a completely new level. If you're looking for a Can't Slow Down or Through Being Cool rehash, just quit reading this review right now. The 11 song disc begins with "At Your Funeral", an amazingly catchy, but amazingly dark song. The whole album is far darker than any previous effort by the band.
"Yeah, it blows...what a bunch of stupid cry babies."
That has been a common reaction to the new album throughout the punk scene...
Recorded in early 2001, the new STD album, Stay What You Are, takes the band to a completely new level. If you're looking for a Can't Slow Down or Through Being Cool rehash, just quit reading this review right now. The 11 song disc begins with "At Your Funeral", an amazingly catchy, but amazingly dark song. The whole album is far darker than any previous effort by the band.
Followed by "At Your Funeral" are, "See You", "Cars & Calories", "Certain Tragedy", and "Jukebox Breakdown." The album is so varied, it's hard to categorize it. But, labels are useless, right? As those first 5 songs pass by, you notice the change in the band. You notice the darkness, the distorted guitars. You notice a brand new band.
"Freakish" follows after "Jukebox Breakdown", and it's just an amazing song. Words are hard to describe it. "I'll make my way across the frozen sea, beyond the blank horizon, wehre I can forget you and me, and geta decent night's sleep." If that's not sincere I don't know what is.
"As Your Ghost Takes Flight" is next up. It's a song for the whole family. No, not really. It's a creatively violent song, which scared the poo out of me the first time I heard it, but it fits in nicely with the theme of the album. Sometimes you just have to let go, as things change...
After that, "Nightingale" follows. By far the best song on the disc. The song is written like a dark story that you don't want to end, as is the entire album. There's just something special about "Nightingale" that will have you hitting replay over and over again.
"All I'm Losing Is Me" continues the dark theme, and then the slow love song pops up, "This Is Not An Exit." It's a really well written song for the brokenhearted. "Firefly" ends the album, and it does it in good fashion too. Good song.
Yes, this is the most diverse work that STD has ever done. No, you will not enjoy this album if all you want is fast paced punk. Yes, you have to have a deep mind to understand the genius in this album.
Chris Conley has received critical praise across the board for his amazing lyrics, and vocals. That credit is much deserved, I might add. The guy is a genius.
Dave Soloway and Ted Alexander have vastly improved on guitar, and it shows on this one. Eben D'Amico's roaring bass is amazing. Bryan Newman's drumming fits beautifully.
My rate's a 9 out of 10, but I really think it's a 9 & a half. Do yourself a favor. Pick this one up on a rainy day.
Huey
punknews.org
Review Summary: Saves the Day's best release, and a huge milestone in the history of Pop Punk.
I remember the first time I listened to this album vividly. I was in my bedroom scoping through internet for new music to listen to. The clatter of rain dripped down my window graciously, and I had no luck finding good material to get into. I was a sucker for Pop Punk at the time, especially Taking Back Sunday's "Tell All your Friends". After about an hour of searching for something, I came across the group "Saves the Day". At first, I was skeptical about the band due to the silly name and the cliché cover used for their most popular album, "Stay What You Are". After reading a bit more about it, and the critical acclaim the album garnered, I decided to give it a listen. I did not enter the album positive; I went in with the sole purpose of ripping the album to shreds. When the last words of "Fireflies" were sung, the growing sunlight poured through my window and I was in awe of how wrong I was.
"Stay What You Are" does little to improvise a unique sound that differed from most Pop-Punk groups at the time. The quirky guitar work, catchy drums, and clean vocals are all there. However, Saves the Day rather improvises on the generic rhythms with impressive instrumental works and irresistible lyrics to sing along too. Right when the first words of "At Your Funeral" were spoken, I was hooked on the catchy lyrics as well as Chris Connelly's fantastic vocal performance. Some people use the word "feminine" to describe his voice. I have never found his voice feminine, yet I find it to be a bit whiny at some points of the album. This isn't much of a negative, since the positives of his voice and lyrics highly outweigh the negative. His voice stays strong throughout the album, as his voice never lets up until the very end.
The guitar work on the album is to be noted also. Though the guitar doesn't stray too far from its crunchy chords and three finger riffs, it provides an excellent way to be enticed to the song, as it doesn't attempt to outdo the rest of the performances. The best example of the guitar work found on the album is showcased on "This is Not an Exit", I find myself humming the guitar on this song frequently. Even though it may seem simplistic at first, you must realize that it isn't trying to outshine the other instruments on the track. The bass can be heard frequently, but it doesn't do much to improvise the sound with the other instruments. I found myself enjoying the guitar and drums a lot more, with the bass proving to be a shadow in the back of the other two instruments.
The drums on the album are well placed and executed perfectly; they keep the rhythm of the album at a balance, as well as improvising on the mood of each song. The drums provide different tracks for each song, and don't sound recycled like some other Pop Punk releases at the time. The cymbal crashes on "Nightingale" are by far my favorite example of excellent drumming on the entire album. They do their job, improving the songs atmosphere and overall sound for a good cause. The drums on the album are not what you would here from your typical Pop Punk album. They provide enjoyable tracks to keep up with as each song flows off of each other.
The standouts of the album are found in the final few songs on the album. "Nightingale" is an excellent slower song that builds tension with its hard hitting drums and Connelly's beautiful lyrics. I always get a chill when Connelly sings gracefully "The Nightingales are singing out!" The chorus is one of the catchiest on the album, and the bass line provides an interesting groove to get into. The next standout would be the famous "This is Not an Exit". This is by far the most memorable song on the entire album. After my first listen, I could recall the chorus and opening guitar strums by memory. Chris Connelly out does himself here, with intricate lyrics and a beautiful ring to each melody he produces with his voice. The finale of the song takes the song to a whole new level though. The lyrics are just so mesmerizing, I find myself smiling every time the song reaches its climax. The honest lyrics spill out of Connelly's mouth so positively and clean that there's no reason to not feel happy. I still listen to this song every time I'm down in the gutter, it's such a wonderful song, and I recommend it for anyone who is into Pop Punk. The final song, "Fireflies" kicks off hard, with some of the fastest work on the album. The lyrics are honest and subtle, yet highly affective. There seems to be less interest in providing a catchy chorus, but with a bigger intention of closing off the album with a grand finale. The final minute and a half of the song is some of the best on the entire album, as all the instruments collide together to form a memorable harmony as Connelly signs it off.
This is by far one of the most enjoyable Pop Punk albums I have ever listened to. The lyrics are memorable and catchy, the instruments are well crafted and each serves a purpose, and the energy put into the album is off the scale. Chris Connelly's vocal performance is top notch, giving each song color and emotion with each note his voice provides. This is Saves the Day's greatest achievement, and it's a shame they could not capitalize on such a great start. This album has become a staple in the industry, and it serves its purpose for being one of the best Pop Punk albums ever made.
I remember the first time I listened to this album vividly. I was in my bedroom scoping through internet for new music to listen to. The clatter of rain dripped down my window graciously, and I had no luck finding good material to get into. I was a sucker for Pop Punk at the time, especially Taking Back Sunday's "Tell All your Friends". After about an hour of searching for something, I came across the group "Saves the Day". At first, I was skeptical about the band due to the silly name and the cliché cover used for their most popular album, "Stay What You Are". After reading a bit more about it, and the critical acclaim the album garnered, I decided to give it a listen. I did not enter the album positive; I went in with the sole purpose of ripping the album to shreds. When the last words of "Fireflies" were sung, the growing sunlight poured through my window and I was in awe of how wrong I was.
"Stay What You Are" does little to improvise a unique sound that differed from most Pop-Punk groups at the time. The quirky guitar work, catchy drums, and clean vocals are all there. However, Saves the Day rather improvises on the generic rhythms with impressive instrumental works and irresistible lyrics to sing along too. Right when the first words of "At Your Funeral" were spoken, I was hooked on the catchy lyrics as well as Chris Connelly's fantastic vocal performance. Some people use the word "feminine" to describe his voice. I have never found his voice feminine, yet I find it to be a bit whiny at some points of the album. This isn't much of a negative, since the positives of his voice and lyrics highly outweigh the negative. His voice stays strong throughout the album, as his voice never lets up until the very end.
The guitar work on the album is to be noted also. Though the guitar doesn't stray too far from its crunchy chords and three finger riffs, it provides an excellent way to be enticed to the song, as it doesn't attempt to outdo the rest of the performances. The best example of the guitar work found on the album is showcased on "This is Not an Exit", I find myself humming the guitar on this song frequently. Even though it may seem simplistic at first, you must realize that it isn't trying to outshine the other instruments on the track. The bass can be heard frequently, but it doesn't do much to improvise the sound with the other instruments. I found myself enjoying the guitar and drums a lot more, with the bass proving to be a shadow in the back of the other two instruments.
The drums on the album are well placed and executed perfectly; they keep the rhythm of the album at a balance, as well as improvising on the mood of each song. The drums provide different tracks for each song, and don't sound recycled like some other Pop Punk releases at the time. The cymbal crashes on "Nightingale" are by far my favorite example of excellent drumming on the entire album. They do their job, improving the songs atmosphere and overall sound for a good cause. The drums on the album are not what you would here from your typical Pop Punk album. They provide enjoyable tracks to keep up with as each song flows off of each other.
The standouts of the album are found in the final few songs on the album. "Nightingale" is an excellent slower song that builds tension with its hard hitting drums and Connelly's beautiful lyrics. I always get a chill when Connelly sings gracefully "The Nightingales are singing out!" The chorus is one of the catchiest on the album, and the bass line provides an interesting groove to get into. The next standout would be the famous "This is Not an Exit". This is by far the most memorable song on the entire album. After my first listen, I could recall the chorus and opening guitar strums by memory. Chris Connelly out does himself here, with intricate lyrics and a beautiful ring to each melody he produces with his voice. The finale of the song takes the song to a whole new level though. The lyrics are just so mesmerizing, I find myself smiling every time the song reaches its climax. The honest lyrics spill out of Connelly's mouth so positively and clean that there's no reason to not feel happy. I still listen to this song every time I'm down in the gutter, it's such a wonderful song, and I recommend it for anyone who is into Pop Punk. The final song, "Fireflies" kicks off hard, with some of the fastest work on the album. The lyrics are honest and subtle, yet highly affective. There seems to be less interest in providing a catchy chorus, but with a bigger intention of closing off the album with a grand finale. The final minute and a half of the song is some of the best on the entire album, as all the instruments collide together to form a memorable harmony as Connelly signs it off.
This is by far one of the most enjoyable Pop Punk albums I have ever listened to. The lyrics are memorable and catchy, the instruments are well crafted and each serves a purpose, and the energy put into the album is off the scale. Chris Connelly's vocal performance is top notch, giving each song color and emotion with each note his voice provides. This is Saves the Day's greatest achievement, and it's a shame they could not capitalize on such a great start. This album has become a staple in the industry, and it serves its purpose for being one of the best Pop Punk albums ever made.
Hogan
sputnikmusic.com
Punk rock finally smiled during the late '90s and into the millennium, thanks to the bands like New Found Glory, Sum 41, and countless other TRL mainstays. New Jersey's own Saves the Day play with post-punk stylings on their third album, Stay What You Are. More mature compared to 1999's Through Being Cool, Stay What You Are mixes emocore delight with post-grunge snarl, and Saves the Day's harmonies are jaunty and tight. But the album is also quite dark and grim; they stay close to the anger found in punk in the first place. Album opener "At Your Funeral" pauses at the idea of death of a peer. Frontman Chris Conley's boyish vocals project a façade of sweet, bouncy sounds, practically glossy and sheer. The bleak descriptions found on "Jukebox Breakdown" and "Nightingale" capture the grittiest three-chord riffs and Saves the Day's highest artistic moment yet. They're bittersweet from love, and self-discovery is most pertinent. They want to avoid such loss, and "All I'm Losing Is Me" suggests that. Saves the Day is conscious of what's affecting their generation, post Generation-X, and they're asking thousands of questions. Stay What You Are yearns to fight the compromise within social standards and complies with bit of self-indulgence.
allmusic.com
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