Daylight - Jar
Record Label: Run For Cover Records
Release Date: April 30, 2013
The 90’s were awesome, or so I am told. I was evacuated through my mothers womb, and thrown into this world in the year 1991, and have been leaving my print ever since, or something of that nature. Unfortunately, missing the great music of the 90’s in my teenage years that has somehow found its way into modern releases. It seems that this cyclical motion of backtracking influences, specifically that of all the subgenres of 90’s rock is ever present in our independent music world, and Daylight’s Jar is no different. Along with their label brethren, (and the sadly missed) Basement, Daylight are tapping into the grunge chords, and dreary vocal deliveries that bands like Nirvana and The Smashing Pumpkins have come to be known for, all while keeping their punk undertone.
Daylight, to me, has always been a band that I enjoyed, but never loved. Maybe it was because they never have had an LP, or maybe it was because I had generally heard it all before. I had always wanted to love Daylight, but I merely enjoyed them, up until now that is. Listening to Jar, I have been constantly thinking that their earlier release The Difference in Good and Bad Dreams is a perfect prologue to what one would experience on Jar. All the signs are there, and Jar finds itself the perfect evolution from EP to LP, all while embracing the elements that were confined on The Difference in Good and Bad Dreams, exploding in a smartly executed love fest for what made those earlier songs interesting.
The first thing to say about the specifics of Jar, is that it sounds massive. Take a note kids, Will Yip has done it again. A sonic guru for the indie bands we love, Will Yip is able to take a sound and make it an experience. From the opening drum hits on “Sponge” to the unforgiving bends on “Life in a Jar”, these tracks will kick you on your ass. Everything just sounds so full, and Jar finds itself a perfect compartmentalization of what Daylight, in their writing want to hit you with first. Try getting the opening melodies of “Outside of Me” and “Sheltered” out of your head after a few listens, I commend you if you can. But, that’s what is so beautiful about the record and the writing. Listen closely; there is a huge absence of lead guitar riffs, or overly written and executed parts, granted a few songs. But, trust me, this is a good thing. Everything on Jar has a purpose. Daylight, and Yip have made these tracks so broad and lusciously full, that every part has a reason to be there, and each one is just as important as the one prior. The minute long “fuck you” escapade “Knew” fits perfectly after the heart wrenching “Youngest Daughter”, which hits elements of drug abuse, and the wounds it causes far beyond the fixator and their fix. The angst illuminated “No One’s Deserving” gives us catchy melodies, desires to be ourselves, and full guitar tones before the ballad of the record “Hole in the Ground”. Everything on this record is skillfully placed, and the journey from track to track is made as easy as possible. The closer of the album “Around the Railing” feels like the sister track to colourmeinkindness’ closer “Wish”. A grandiose opening, and even catchier melodies, Jar says goodnight in a grand fashion.
I can’t go on a tangent enough about how skillfully written this record is. Yeah, I could probably live without “Crawl” or “Last October”, but those two have been growing on me after repeated listens. There is no filler in these songs. The lead lick on “Sponge” is catchy and atmospheric, but once the vocals come in, heavy reverb is all that is needed to carry us through the verses. Jar is grand in scope and execution, yet absolutely accessible from a listening standpoint. The pair of the band, and Will Yip has made it so Jar is built to last, and easy to come back to. Daylight have given us an atmosphere to get lost in, and with their best vocals yet, in melody and delivery, massive guitar tones and riffs, and an even tighter rhythm section, Daylight have given us their best work yet, and I anxiously await to see where this band goes in the future. I have listened to this album at least twice a day since I got it, which like many of us I am sure was when Run For Cover released it for five dollars. It only took a few tracks for me to open my wallet again to get the deep purple vinyl that I am anxiously awaiting. I plan to listen to it on the walk to my car from class in a few minutes, which is where I decided to write this little escape from molecular biology, and on my drive home. I am probably even going to listen to it when I go on a run later in the day. If you have made it this far, past my wordiness and tangents, there is no reason you shouldn’t be buying this record. And yes, I truly mean buying. Daylight deserves it, and so does Run for Cover. To take from singer/guitarist Taylor Madison, you know it, I know it, you want this record.