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Saves The Day - Under The Boards
| Allmusic |
| Under the Boards is the second in a trilogy of albums that Saves the Day has billed to be a "story of self-discovery." 2006's Sound the Alarm was the aggressive and urgent pop-punk most fans expected and ultimately demanded, a record of discontent and unchecked energy. Under the Boards -- with a solemn night sky adorning the album's cover -- appears as the counterpart to that restlessness, a record that is quieter, more pensive, and more sorrowful. This is an album of reflection, so much so that even the faster tracks revolve around little more than tight rhythms, remorse, and emotions of the bitter kind. The opening title track sounds eerily like Chris Conley channeling Muse (much like Matchbook Romance did on their 2006 album Voices), where a lonely guitar barely supports his despondent croon before the band comes in full force behind him, growing dramatically to round out the dark mood surrounding his naked voice....full text |
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| Avclub |
| Saves The Day revisits the past yet again on its sixth album, Under The Boards. After the stylistic departure of 2003's In Reverie, Saves The Day reprised its first album's Lifetime-emulating pop-punk on Sound The Alarm in 2006. Now it's moved on to the more balanced, moody pop of its 2001 breakthrough, Stay What You Are—"Can't Stay The Same" even rivals Stay's "At Your Funeral" for catchiness. But the pop (which peaks with "Bye Bye Baby") has plenty of pathos: The closers "Woe" and "Turning Over In My Tomb" are even darker than their titles suggest, with frontman Chris Conley getting downright goth lyrically. As usual, his nasal voice gets grating, but at least his band has returned to what it does best....full text |
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| Boston |
| "Under the Boards," Saves the Day's sixth album and the second in a three-album trilogy about the band's self-discovery, is an example of an ambitious group reaching beyond its limits. Focused on "reflection and remorse," the album begins with the title track, a little-boy-lost pop-punk ditty featuring bad emo poetry lines like, "I want to lie below the weight of the sky." "Radio" is a Piebald-meets-Weezer cut that delivers a satisfyingly poppy sound. The straightforward "Get F#**ed Up" connects the simplicity of getting drunk with the complexity of falling in love. ...full text |
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