Vancouver three-piece daysormay have announced their sophomore album, 'MODERATION', arriving September 18th through TAG Music. The follow-up to 2021's 'Just Existing', the album was produced by Chin Injeti (Dr. Dre, Anderson .Paak, Eminem) and T-Minus (Kendrick Lamar, the Weekend, Lil Wayne).
The album's first single, 'SIMMER', is out now, with the track opening with choral synths and cascading, blown out vocals before a tune down propels into the gritty, distorted main melody. The vocal textures contrast both with each other and with the instrumentals around them: the staccato verse falsettos clash against the deep bass tones and create a distinct jump to the warped and staticky vocals in the hook. Injeti’s production intricately places basslines, claps, synth drones, and vocal effects to give listeners a full body experience, mirroring the effect of leaning into one’s impulse.
Lyrically, 'SIMMER' explores the peaks and valleys of giving into things you know you shouldn’t be doing. Aiden Andrews of the band confides, “There was a point in 2021 when I had covid, and I was isolated in my room for a while. I was really struggling at the time to moderate my consumption of everything, I was giving into any and every impulse that showed up, and I didn’t care. So to me the song is speaking from that place, that state of mind of knowing you’re too far gone but not caring, and even leaning into it.”
The intro’s cascading synth textures and layered vocals evoke feelings of the ‘angel’ on your shoulder trying to steer you in the right direction, paired with lyrics “Dead on a sunny day / Too hard to walk away / Too young to fade to grey / Keep running” that emphasize the reluctant influence these impulses still have.
The ‘devil’ shows itself in the track’s main hook, with lines like “Everything for sale, you can see but not take / Chase a burnout till it’s deep in my veins / I can hide the whole world under my face” leaning into the chaos and satisfaction of doing something you know is wrong. In the pre-chorus, the song even switches POVs to the vice itself: “Don’t lie to me / All your time belongs to me, yeah / You can’t hide from me / I’m the only one you need, yeah,” showing a complete view of the give and take that comes with a downward spiral.
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