Opening with “Seven,” a song that would go on to pretty much define the band, if not the entire emo sub-genre, for the next couple of decades, Diary flows through it’s 11 tracks with a quiet/LOUD/quiet/LOUD panache, a swirl of dark and sweet moods and obtuse, (maybe) confessional lyrics. It’s like reading the journal entries from some mysterious teenage outcast, the quiet, brooding genius sitting by himself at the lunch table. The whole thing felt instantly relatable, despite any lack of understanding of lyrical thematic meaning or content on my part (i'm kind of an idiot). It didn’t matter. The album felt like anguish, thanks in no small part to Jeremy Enigk’s swoon and wail. It was perfect for a shy, insecure teenager like me, and while I may have moved away from it while growing up, I always find myself coming back for more “Seven.”
Being the first song I heard from the band, probably on 120 Minutes or something, “Seven” seemed to belong just to me. At the time, none of my other friends had any idea who Sunny Day Real Estate was, and as far as I knew, I owned the only copy available in Midland, Texas. That was certainly not the case, but I felt like they were my band. Growing up, you attach yourself to plenty of different groups and artists that belong to your group of friends, or your generation, or whatever, but it was wholly different and wonderful to have something that seemed like it was mine entirely. In a lot of ways, that feeling is what has made me actively seek out and discover new and interesting music over the last 30 years, like some junkie trying to relive that first high. I want to feel that way again.
The craving never subsides, but I guess I’m okay with that.
Listen below, our Daily Jam.
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