January 24, 2012  ⋅  20 notes  ⋅  Comments

Chris Conley (Saves The Day) is currently on the Wheres The Band? Tour with Evan Weiss (Into It. Over It.), Anthony Raneri (Bayside), Matt Pryor (The Get Up Kids), and Ace Enders (The Early November). You can stream Conley’s full set from the Pawtucket, RI show below by clicking “Read More.”

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January 13, 2012  ⋅  24 notes  ⋅  Comments

PropertyOfZack met up with Saves The Day in Ohio on their last co-headlining tour with Bayside, and we were able to do a great Session with the band. Check out the band playing stripped down versions of “Deranged & Desperate” and “Cars And Calories” below by clicking “Read More!”

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December 26, 2011  ⋅  78 notes  ⋅  Comments

PropertyOfZack Gallery : : Senses Fail Holiday Show in Sayreville, NJ
Features: Senses Fail, Saves The Day, Balance & Composure

*Photos by Dan Bassini

December 23, 2011  ⋅  36 notes  ⋅  Comments

New Cover: ”Baby (Please Come Home)” // Saves The Day

December 20, 2011  ⋅  26 notes  ⋅  Comments

Chris Conley will be doing the Where’s The Band? Tour in January and February, but he has confirmed that Saves The Day will be doing a headlining tour in the US in May. Saves The Day will most likely also be heading back into the studio sometime in the winter of 2012 to record the follow-up to Daybreak. Check out the full interview here and part of what Conley had to say below by clicking “Read More”.

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December 16, 2011  ⋅  5 notes  ⋅  Comments

Banquets have been added to Senses Fail and Saves The Day’s holiday show with Balance & Composure on December 23rd in Sayreville, NJ. Banquets were chosen to open by a Red Bull contest that will help restore the upkeep of Court Tavern in New Brunswick, NJ. A dollar from every ticket purchased for the holiday show will also go to the well-being of Court Tavern.

December 14, 2011  ⋅  29 notes  ⋅  Comments

New Acoustic Performance: ”Let It All Go” // Saves The Day

December 12, 2011  ⋅  7 notes  ⋅  Comments
December 11, 2011  ⋅  20 notes  ⋅  Comments

Daybreak, the new album by seminal Jersey pop-punkers, Saves The Day, offers an intriguing and, in places, odd mix of old and new. The end of a three-part series of concept albums, the record effectively represents a point of resolution within the STD canon. Singer and songwriter Chris Conley describes the project: “Sound the Alarm is an expression of discontent. Under the Boards is reflection and remorse. Daybreak is acceptance.” Conley elaborates, saying that, “The whole trilogy was just a bit of a therapeutic experiment. I felt like all twisted up and broken inside and just angry and confused and depressed and sad and I couldn’t really deal with the world or myself. So I was just like this has got to end, I have to at least try and get a grip on the world and on myself. So I dove into the depths of my mind and brought out what I was finding, so the first album was filled with all the anger, the surface pain, and all the paranoid delusional thoughts that were there. The second album, Under The Boards, dealt with how all of that was making my life unbearable, and I realized I had to change so that album was the transitional part, starting to transition out of that dark place, because you realize how it’s affecting your life. So Daybreak is coming to terms with everything and trying to understand why I actually got that way and learning to accept it by exploring what it is and why it was there and simultaneously trying to grow through it and be a better person, not purely full of anger.” Keeping this in mind, one must consider Daybreak as a piece of a larger construction, as opposed to totally conceiving of it as a standalone album.

The title track, also the first on the record, draws the listener back into a story that’s taken five years to finish. It’s an eleven-minute-long opus, transitioning between grooves and feels; divided into five “movements,” it contains a great deal of self-reference, drawing lyrical content from the band’s previous two albums. The first part, “Somehow You Love Me,” sounds almost like a Death Cab For Cutie song, with Conley and a single guitar, decidedly Ben Gibbard-esque. The entrance of the rest of the band creates a more aggressive feel and builds a transition into part II: “Fucked Up Past The Point Of Fixing,” which sounds like a more “traditional” Saves The Day number: driving and aggressive, with Conley singing about his lack of concern at the prospect of dying alone. Abruptly, the song drops all aggression with part III: “8 AM.” This movement is groove-oriented and calm, but builds into the next section, “Zig Zag.” The final part, “Daybreak,” presents the listener with a sense of resolution, more immediate to the song itself than the whole album, but still containing an overall reference point for where we stand within the overall concept of these three albums. If Daybreak were the end of a cable TV series, like those on HBO or Showtime, the title track would be the synopsis of all the past narrative points, provided the audience at the beginning of the show—all the bases are effectively covered, the past is both alluded to and expounded upon, and we begin to get the feeling of conclusion.

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December 6, 2011  ⋅  Comments

Saves The Day will be venturing to Australia in early-2012 for the annual Soundwave Festival. Chris Conley has now confirmed that the band will be playing two sets a day during Soundwave: One set composed of original Saves The Day songs and one set solely consisting of Weezer’s Pinkerton. Check out a quote from Conley below by clicking “Read More”.

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December 1, 2011  ⋅  14 notes  ⋅  Comments

Thursday will be playing their last shows as a band overseas in Australia for the 2012 Soundwave Festival. The band has now announced two Sidewave shows with Saves The Day and Circa Survive. Check out the dates below by clicking “Read More”.

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November 28, 2011  ⋅  Comments

New Live Performance: ”At Your Funeral” // Saves The Day

November 24, 2011  ⋅  Comments

A new Saves The Day Daytrotter Session can be heard here. You can check out the artwork and track listing below by clicking “Read More”.

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November 20, 2011  ⋅  12 notes  ⋅  Comments