Maybe I thought Stay What You Are would be too difficult to top. Maybe seeing Chris bopping along to the beat in the “Anywhere with You” music video turned me off. But the most likely reason it took me ten years from the release date to finally listen to In Reverie is that buying music costs lots of money for a broke student, and I had to be selective. Either way, there’s no good excuse to put off listening to such a likable album.
I’m sure some people listen to In Reverie and really connect to certain songs, much like I connected to “Banned from the Back Porch” and “Firefly” in my youth. I’ll admit I haven’t found such a connection with this album. Chris Conley’s lyrics are wispy, featuring plenty of vague references to light, the moon, the sea, but the words just blow in and drift away.
But who cares? I can start In Reverie at track one and enjoy it all the way through (actually, let’s skip “She” though ‘cause it slows things down a bit much). Forget about the lyrics – this album is all about the sound. The whiney highs of “Rise,” the rough guitar edges of “Where Are You,” and the elegiac shadow of “Tomorrow Too Late” are what make In Reverie good, if not great. I listen to these songs like a child, admiring the surface without worrying about the depth. And I’ll be bopping along to these tunes for years.