In the sombre embrace of a Phoenix twilight, post-punk outfit Some Days Are Darker emerges as a marriage of gothic romance and the taut tension found in the annals of noir cinema. Here, the music unfolds in high-definition, each note akin to razor-sharp shadows cutting through the oppressive heat of burning passions. It’s within these compositions that we discover the essence of meaning, defiantly emerging from the all-consuming blackness that shrouds them.
The brainchild of Lear Mason, a former metalcore guitarist who has embarked on a transformational journey to singer-songwriter, Some Days Are Darker becomes a canvas for Mason’s formidable talent in crafting emotionally-charged lyrics. With a lyrical prowess that delves into the deepest corners of the human psyche, Mason’s verses unearth expressions of love, lust, and longing; reminiscent of Lovecraftian horrors lurking beneath the surface of our consciousness. In this musical landscape, the dark and the enigmatic converge, painting a vivid portrait of passion and introspection.
Their latest creation, Downpour, plunges us into a tempestuous soundscape. This modern post-punk composition confronts the theme of adversity amidst impending destruction, akin to a sonic battle waged against the forces of chaos. In this realm, there’s no retreat or hesitation. A binding commitment sealed in blood. An inferno beckons, symbolizing our entanglement. In the relentless storm of life’s challenges, we stand unwavering. The deluge never ceases, and as gasoline-like troubles pour down, we embrace the fire that consumes us. These are the trials we despise, and when hardships pour in, they flood our existence.
Mason took the reins as director for the video, seamlessly blending scenes of the band’s performance with glimpses into the lives of a couple navigating an underground, liminal world. In this subterranean setting, the couple’s quest for fleeting moments of serenity unfolds against a backdrop of uncertainty and transition.
Watch the video for “Downpour” below:
In the realm of musical composition, Mason’s work draws compelling comparisons to moody alternative rock luminaries such as Depeche Mode, Placebo, and Black Rebel Motorcycle Club. Yet, rather than succumbing to the grandiose bombast often associated with these acts, Mason opts for a more intoxicating intimacy. His sonic tapestry resonates with a sensibility that feels akin to the atmospheric score of Jim Jarmusch’s languid masterpiece, “Only Lovers Left Alive.”
The outcome is a form of smoldering voyeurism, a musical experience that beckons the listener closer but never shatters the illusion of the fourth wall. Like spectral figures flickering upon the silver screen, Mason’s compositions keep the flames of romantic tension just out of reach. It’s a delicate dance, a tantalizing tease, where the listener is invited to peer into the shadows without ever fully unveiling the enigma at the heart of the music.
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