Okay, who let Chris Conley listen to the "White Album"? Although it should be a crime to compare Saves the Day to the Beatles, I can't help but point out how drastically the band has changed their sound since their last album, ironically titled "Stay What You Are." Saves the Day (the cool kids call them STD... and then giggle) has gone the way of so many other trend-setters, turning their backs on the genre that they helped create to find solace in bizarre song-writing.
For those not familiar with the typical Saves the Day sound, picture the voice of 12-year-old boy accompanying the poetry of an escaped convict, hellbent on mutilating his ex-girlfriend. Whether gouging out her eyes, throwing lemonade in her face, or crucifying her in the basement, Conley demanded pity after even the most sadistic acts of violence with his shrill, non-threatening whine.
But with the new album, the band has finally passed puberty's evil influences and has grown up both lyrically and musically. With Saves the Day's collective training-bra stage over, the band has moved its focus from punk rock power chords and awkward lyrics to insightful jest and awkward chord changes. Conley's trademark whine has transformed into a dreamlike croon, flowing through the melody like a lost child in a candy store (yes, his voice is still high pitched enough to be compared to a child).
Where STD's first album, "Can't Slow Down," erupted with urgency and held very true to its title, "In Reverie" also closely corresponds with its name, maintaining a slowed pace and dreamlike irreverence. The opening song, "Anywhere With You," only hints at what is to come, jumping between a playful, danceable verse and a rock-out chorus that is reminiscent of bands like The Milk Carton Heroes of the grunge era. After "Anywhere With You" comes to a close, the record plunges into twisted pop experimentation. The second track, "What Went Wrong," opens with a chord progression so awkward that it would make even Chris Griffin blush. But Conley's vocal melody brings the song back into the pop realm, finding a catchy and cohesive path of notes through the dynamic soundscape.
Barring the token acoustic song, "She," the rest of "In Reverie" (all 25 minutes) sees Saves the Day following their new sound. Unlike most albums in the pop punk genre, however, the formula avoids growing tiresome with repeated listens. In this respect, Saves the Day succeed where their equally established contemporaries have failed.
"Driving in the Dark" and "In My Waking Life" are also two of the stronger songs on the album. They represent excellent examples of Saves the Day's new sound with their layering and general sophistication. Even the aforementioned token acoustic song sounds more like a forgotten Beatles B-side than a heartbroken teenager strumming away after a break up, as Conley excessively illustrates in the acoustic EP "I'm Sorry I'm Leaving."
Other highlights of the album include the last song, "Tomorrow Too Late," where Conley croons "to find you is to lose you, what is that for? One more night and I might not know who you are. Tell me, tomorrow is much too late, I need you now."
With their new album, STD can no longer be compared to the myriad of pop punk bands that have infested this nation (1,483 in Charlottesville alone). It may come as a shock to anyone who saw Conley's prepubescent face plastered all over MTV, but he has certainly matured with his audience. "In Reverie" represents a far cry from the current trend of glorifying dejection that runs rampant in far too much of today's music. Saves the Day is no longer finding glory through repetitive, empathetic whining. Fans of past albums will be surprised, and hopefully pleased, to find the band is no longer focused on saving their reputation, merely the day.
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