In the early 2000’s, Saves The Day were the poster child of the emo scene. Stay What You Are had set the scene on fire early into the new millennium. With expectations high, In Reverie defied them in every possible way. And fans hated it. Singer Chris Conley’s new, high pitch vocals caught everyone off guard. The dreamy lyrics were a far stretch from the desperate lyricism of the band’s past records. Fifteen years later, In Reverie is held in much higher regard within Saves The Day’s body of work, and, unfortunately, largely forgotten.
Both Through Being Cool and Stay What You Are seemed like required listening for anyone developing a sense of music. Aggressive pop punk and restrained rock, respectively, they showed alternating sides of the same band and a maturity in songwriting that few bands successfully manage. Especially after Stay What You Are, arguably one of the most popular albums of the time, the wait for Saves The Day’s next record was excruciating.
In Reverie felt different right away. It was the first album cover to feature a painting instead of a high school inspired photograph. The CD itself was a bright, tangerine orange. Before even pressing ‘Play’, it warned you to be prepared for something new.
“Anywhere With You”, one of the few singles from the album that remains a live staple, broke out with harsh, fuzzed guitars as the back drop for Chris Conley’s new vocal style. In retrospect, it’s not that big of a jump. However, at the time of release, it almost sounded like a brand new singer had taken over. Not nearly as nasally, Conley was crisper and more relaxed as his pitch edged upwards.
In Reverie also marked the beginning of the modern Saves The Day ‘sound.’ It established the tight melodic pop song formula that would become the staple format of the band moving forward. While it would take the next album, Sound The Alarm, to firmly mark the occasion with aggressive guitars, In Reverie experimented with more relaxed songwriting.
Songs like “Monkey” played with loud and soft melodies, refusing to lean too far one way or the other. “Wednesday The Third” rediscovered the dark guitars, but let Conley’s vocals explore the musical scale and harmonize off of himself.
While other albums would return to the pained existential lyricism of the band’s first few albums, In Reverie played around a bit more. While there are certainly songs pertaining to the pains of relationships, (“Anywhere With You”) or emotional turmoil, (“In My Waking Life”), there were many more songs with fanciful lyrics that don’t seem to hold much meaning other than being fun to sing.
“Morning In The Moonlight”, one of the few absolute jams on the album, delves deep into this aspect. There’s little to take away from the song other than the lyrics are just a blast to sing out loud. “Madness ensues, swimming in ocean blues / The dream-dripping sky covers my insides / The moonlight in the morning sun sends shivers over my skin / The memories are slowly slipping and I’m sailing against the wind”.
It took a few years for In Reverie to actually be discussed positively. My friend group largely ignored the album until after the release of Sound The Alarm. Conley himself stated it was his favorite record in various interviews, but acknowledged that critical reaction to it had caused a course correction. Sound The Alarm and Under the Boards were largely written as a response to In Reverie. The guitars immediately became more aggressive and the lyrics grew darker. It was a stylistic approach that appealed to the imagery of past songs, like “As Your Ghost Takes Flight”.
Looking back on it, In Reverie isn’t as drastically different from Saves The Day’s discography as it sounded upon release. It seems to fit into their body of work musically better than Stay What You Are in many ways, even if it still stands out lyrically. Many of the same people who initially hated the record now regard it as their favorite album. However, it still remains the black sheep of Saves The Day’s history. Songs from it rarely seem to be played live, and it seems rarely discussed. It’s a shame, because the album is such a cornerstone of the last 15 years of the band’s history.
by Kyle Schultz
Kyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and just dropped two eggs on the floor, accidentally creating the worst breakfast this side of the Mississip’.