Under the Boards lacks unique sound

By Joey Vergara

Published Oct. 30, 2007

In many ways, every Saves the Day record is like a lesson in anatomy and torture.

On "As Your Ghost Takes Flight" from Stay What You Are, singer Chris Conley threatened his enemy: "Drink your blood and feel it dripping down my throat."

Later, he aimed some of the threats at himself on Sound the Alarm's "Head for the Hills": "Cut off my legs when you tell me to walk/Slit my own throat when you say to talk."

This penchant for dark lyrics over power punk/pop makes for an interesting combination that continues to be heard on the band's latest, and overall weakest, album Under the Boards.

The second in a trilogy of albums, which will conclude next year with Daybreak, Under the Boards is another piece to the larger story that chronicles a miserable time in Conley's life.

It primarily deals with the consequences of the anger found on last year's Sound the Alarm. So although some of the violent metaphors remain, Under the Boards is lyrically about a struggle to move on.

For better or worse, Under the Boards is the first Saves the Day record that really lacks its own unique sound.

Sound the Alarm took the band back to its punk roots but with a much harder slant, even if some of the power-pop touches of In Reverie filtered in.

Conley is still one of the most solid songwriters of his generation, but for a band that has taken so many creative risks in the past, Under the Boards lets listeners down in that respect.

One possible reason for the downturn might be the fact that the band is somewhere around its eleventh incarnation with long-time drummer Pete Parada exiting a few months ago.

Then again, Saves the Day has always revolved around Conley and guitarist David Soloway.

Regardless, the newest additions — bassist Manuel Carrero and new drummer Durijah Lang, who both play in Glassjaw these days — have really powered the rhythm section.

The bass on "Get Fucked Up" is an entity of its own, reminiscent of the glory days of former bassist Eben D'Amico with a heavier touch.

Even the relatively softer moments on the record like "Lonely Nights" rupture open with Lang's drum work.

In the end, Saves the Day remains a punk band at heart. "Getaway" and "Because You Are No Other" feature some of Conley's most obnoxious, snarling vocals.

It's a great return to the form of the young band that started in high school and released Through Being Cool. And even if the former track boasts some absolutely ridiculous caveman chanting, these quick, pummeling songs are some of the best on Under the Boards.

Not quite Beach Boys or Radiohead, Saves the Day certainly takes cues from both on the opening and closing tracks. On both the title track and "Turning Over in My Tomb," a brooding Conley moans with creepy background harmonies to start things off before the rest of the band lurches in.

In proper concept-album fashion, the album circles back to the beginning with these similar-sounding songs.

Under the Boards isn't much of a step in a new direction like all other Saves the Day albums, but rather more of a highlight of all of the band's best moments.

It's not bad, but Saves the Day's "Empire Strikes Back" is certainly not the best of the trilogy.