Review Summary: Do not hesitate to experience A Day Without Gravity.
Downplay selected an unusual band name. After a listen to their debut record
Saturday, it would be exponentially difficult to downplay the group as another alternative rock band.
Saturday was the definition of a perfect album and totally unique, despite its weak production and the college-age band members. Indeed, the album was the perfect blend of thrashing distorted guitars mixing with elements of early Coldplay, and could please both a headbanger and a coffee-shop listener. Thing was, the record literally flew under the radar, not gaining any true recognition for the band or the album. After the release, Downplay knew they still wanted to be a band, but may have wondered what they could do on their sophomore outing to gain more recognition.
First off, observe a few interesting things about the cover art. It keeps the same logo that
Saturday bore, so it may infer that the band were not ashamed of their obscure and relatively unknown beginnings. Also observe the dark coloring, and the silhouettes crouching around a malfunctioning TV in a graveyard. The previous album’s art was simply a man playing a guitar silhouetted in the background, with stars dotted over the front. This would infer that although Downplay were happy with their beginnings, they wanted to move in a different, and possibly bleaker, direction. Lastly, let’s look at the title of the album,
A Day Without Gravity.
Gravity is something that the human race has grown more than used to, so this title may imply a major change of a circumstance or life. Whether this change is good or bad isn’t fully implied, but from the rest of the cover, we are left to infer that whatever the change is, it’s full of malice. Point being, Downplay are darker and heavier this time around.
Vocalist Dustin Bates doesn’t croon near as much as he did on
Saturday, preferring a grittier, angsteir delivery that bleeds of negative emotion and pain, even at the calmer moments. His voice could be compared to a roaring hurricane: even at the eye, it’s still not quite safe or trustworthy. The Coldplay and Foo Fighters influence from previous material is gone, replaced by a sound more similar to Breaking Benjamin or Three Days Grace. However, don’t assume that Downplay have become generic. Rather, they’ve found their own heavier side, without being cast in the same mold as other groups. Dustin Bates is still a proficient guitar player, crafting distorted riffs and clean leads that stand out and add another layer of interest. On
Saturday, much of the band’s jazz-influence sound rested solely on drummer Brain Patrick’s shoulders. Though his playing is different and takes much less cues from punk and progressive rock, it’s still distinguishable and adept. The only member that seems to have taken a smaller role is bassist Corey Catlett, and he fades into the backdrop much more than the former record.
“Sleep” is actually reminiscent to Saturday’s “Love on the Weekdays”, both in its punchy guitar riff and catchy chorus. Downplay were still highly capable of crafting joyous sing-along choruses, even if they were rougher on the edges. Even Dustin sounds almost exactly like he did on “Weekdays”. However, a song like “The Stain” is grimy and dirty compared to the clean shine on “Sleep”. “The Stain” is full of greyscale lyrics, ominous guitar riffs, and tempo-varying drums. Dustin sounds angry and nervous, almost like he’s having a breakdown as the song progresses. “15 Minutes” is driven by punk-fueled urgency and palm-muted riffs, as well as a raspy, gritty vocal performance. Bates takes on a slight southern edge, and the “hey-hey” refrain interspersed throughout gives the song a perfect live feel. This is a major change for the band, as the entirety of the first record didn’t sound like it would translate well live at all. There’s even a significant guitar solo, proving that Dustin is just as talented here as he was previously. Songs like “Queen of New York City” and “Down To Zero” further showcase the new hard edge, even throwing in some screams now and then. On the more melodic side, Downplay are still capable of crafting emotion-racked ballads. The tenderness in Dustin’s voice and the simplicity of “B-side” will either have you on your feet cheering or in your seat bawling, and it’s plain that Downplay are highly capable of garnering an emotional response from listeners.
Both Dustin and Brian sound as proficient as before, if not more improved. The darker tone works for Downplay, and allows their music to be taken on a more serious scale, even if it doesn’t feel as personal as
Saturday did. Honestly, a slight usage of filler (“Maybe” is an unnecessary ballad, and “Back For More” is a weak way to the end the album on a soft note), and the recession of Corey Catlett’s playing are the only negatives to this release.
Lyrically, Downplay are able to guide you through heaven and drag you through hell, sometimes simultaneously. While “Sleep” will have you singing along about taking a breakup positively, a song like “The Stain” conquers blaming oneself for their problems. Both “15 Minutes” and “Queen of New York City” express hate towards those who only exist for fame and only want more of it, and though “Queen” borders on “slut-shaming” territory, it remains pensive and thoughtful enough, just enough, to be better than anything Nickelback could put out.
Even though the lack of a personal feel and the key moments where the entire band cohesed is disappointing,
A Day Without Gravity isn’t a sophomore slump by any interpretation of the word. It lives up well to Saturday, and will please both past and present fans of the group. Though it’s slightly dated, do not hesitate to experience
A Day Without Gravity.
