POZ Decade: Bayside – Sirens And Condolences
Bayside's Sirens And Condolences turned 10 yesterday, and PropertyOfZack is launching our first Decade feature of 2014 in celebration of the record today! We have commentary on the album from POZ team members Brandon Allin, Adrienne Fisher, Becky Kovach, and Zac Lomas. So enjoy the read and reblog to let us know your thoughts on Sirens And Condolences ten years later!
How Sirens & Condolences holds up in 2014
It’s hard to believe it’s been ten years since the powerhouse that is Bayside released its first album, Sirens & Condolences. The band’s career has been nothing but consistent ever since, with a following so dedicated that fans refer to themselves as a cult — this sense of kinship even prompted the title of Bayside’s upcoming album.
Sirens & Condolences might be Bayside’s oldest album, but it’s still a fan favorite. The songs are home to some of band’s most scathing and acrimonious lyrics, though the melodies provide a slower burn than the band’s most recent singles. It’s an album I return to often, sometimes putting it on repeat for weeks straight as I get lost in the record’s blasting guitars and Anthony Raneri’s passionate delivery of lines like, “I hate myself for hating myself/Just enough to love you.”
It’s an album with a lot of heart, raw and beating and bleeding. As I’ve gotten older I’ve come to realize that I didn’t understand half of what I was singing along to when I first discovered Sirens & Condolences, but this isn’t really a bad thing. It’s an album that left itself some room to grow with its listeners as the years passed, rather than being left behind as a relic of an angsty youth. – Becky Kovach
Most important song on Sirens & Condolences
There’s something to be said for a record so expertly crafted, no one track feels like it holds more weight than another. Perhaps that’s Bayside’s knack for consistency on display in its earliest stages, or simply the mantra of a band seemingly hell bent on one-upping only themselves. That being said, for the sake of discussion, we’ll go ahead and elect a candidate. While the whole of Sirens’ forty minute running time is substantial in its own right, the record’s opening number “Masterpiece” likely still resonates the most with fans today, along with remaining a staple in the band’s live show. It’s aggressive, punchy, and encompasses everything that’s Bayside, ranging from frontman Anthony Raneri’s distinct, passionate croon, right down to the four-piece’s masterful musicianship. It was our very first listen to a Bayside masterpiece (pun absolutely intended), a trend that now feels commonplace, and unsurprisingly it still holds up today. – Brandon Allin
Was the band successful in following it up?
Where Sirens & Condolences offered an unfiltered, rough-around-the-edges look at the New York-based quartet, its successor, 2005’s Bayside, made it feel like little but an afterthought. Arriving on the scene just one year later, Bayside’s self-titled LP dished out eleven tracks of raw, unbridled emotion, a monumental leap forward in every facet of the game, all while spawning a handful of the band’s most beloved cuts to date. It was bleak in the most beautiful kind of way, tugging at your heartstrings while it still gave you hope. For every dreary encounter vocalist Anthony Raneri detailed out loud, you felt like you had finally found a record you could find solace in; an album so enthralling, it was as if you were witnessing the defining moments of Bayside’s career so rapidly after their inception. What’s most hypnotizing in hindsight is that Bayside was only the calm before the storm. – Brandon Allin