People are notoriously bad at communicating and dealing with conflict, and thus conflict rears its' ugly head time and time again. I had a conflict with a friend and instead of dealing with it, I wrote a song about how bad we are at dealing with conflict. 

Winter Winds comprises of a whimsical guitar/banjo riff giving a naive sense of euphoria, driving rhythms, moody ambiance, with folky vocal harmonies. 

Best listened to on high quality speakers as you as you drive away on a never ending road, with that sense of freedom and rest as you leave your world for a week or two. Pro tip, go out of school holidays to avoid any traffic or be a crazy and leave at 4am like yours truly, that's when the road looks best.

Winter Winds

‘Hands of Mine – In the Dark Part 1’ is the first track on Michael Day’s up coming 3-track single release. ‘Hands of Mine’ explores our faults and flaws asking the timeless question ‘Am I worth anything?’. The first track on the release, and also the darkest track, has an eyrie sense of hopelessness stumbling through a valley of darkness and depression. It reflects on Day’s own anxieties, and struggles with His own wrongs and low self-worth, compelling the listener to contemplate their own life and short-comings.
‘Hands of Mine’ is a tapestry of ambient guitars, haunting vocal harmonies and moody vibes to match the lyrical content. With influences such as Mumford and Sons and Josh Pyke, ‘Hands of Mine’ is somewhat of a folky ballad with sparkly electric guitars and driving acoustics.
The melodies within this first track, set up the future tracks so the listener is already familiar with the melodies to come. For example, the intro is a motif of the Chorus in the third track. Or, the outro is a motif of the second track’s instrumental.

IN THE DARK

Hands of Mine - In the Dark, Pt. I

Hands of Mine - In the Dark, Pt I

‘Stars and Galaxies – In the Dark Part 2’ is a reflection of Day’s experiences dealing with his own flaws and an admission of His wrong doing. It is also a wrestle with the wrong done against Him. It’s a realisation that all He can do is apologise and nothing can change the wrong He has caused. And it poses the question ‘how do we reconcile with people who have hurt us?’ While never answering its questions, ‘Stars and Galaxies – In the Dark Part 2’ can be summed up as an apology.
Day combines his classical guitar methodology with His contemporary writing to create a piece which hints at a romanza and echoes a spacey folk ballad. The acoustic guitar is the predominant feature at the start of the piece, however, it is soon overshadowed by the echoed electric guitars and the ambient banjo part, although still holding much of the feel.
A lot of the track is an instrumental, representing an apology which is acknowledging of it’s wrongs while not using many words to try and ‘right its’ wrong’. This gives the piece it’s reflective nature and a longing to ponder its’ deeds.
Much like the previous song ‘Hands of Mine – In the Dark Part 1’, the melodies within this track are motifs of the works around it. The outro from ‘Part 1’ is echoed in the instrumental of this track.

Stars and Galaxies - In the Dark, Pt. II

‘Monsters – In the Dark Part 3’ is the brightest and most upbeat track of the In the Dark Single release by Michael Day. It can be viewed as a light at the end of a tunnel. A joyous reconciliation or a warm hug from a friend you’ve previously hurt. ‘Part 3’ is about finding joy in the reuniting of friends, people and the ones we’ve wronged. It suggests seeking selfish gain will see us hurt the people around us but holds onto the hope of restoration when we do hurt the people we love.
‘Part 3’ is heavily driven by the acoustic guitar, with a pumping bass guitar and a relentless snare presently in the background. The vocals have been modelled to mirror a Josh Pyke tune, keeping the vocals the focal point of the piece. Vocal harmonies are also present, especially towards the climax of the piece, supporting the continued call of the chorus ‘Monsters that I made’.
Each Pre-Chorus has an echo of the instrumental from the previous piece, giving a space to consider the relationship between apology and reconciliation. While no solution is expressed, admission of wrong is a definite call of ‘Monsters – In the Dark Part 3’.

In the Dark

Monsters - In the Dark, Pt. III

'Anywhere' is a reflection on the emotional and somewhat knee-jerk reaction to learning of a friend being in an abusive relationship. The feelings of deep sadness and an urgent desire to see that person leave and do well. To be free from the hurt and pain that such a relationship causes to a person. 

The piece was created for the Kia Creator Competition, using Kia's new plugin the Kia Instrument. The instrument features in the Sub, Bass line, Melodies, and somewhat as a pad.
#kiacreatorcontest
#kiacreators

Anywhere

Anywhere - Kia Creators Competition

‘Psych or the Priest’ is a reflection on the turbulent nature of dealing with anxiety and depression. There is a feeling of sinking associated with anxiety where you feel you are drowning or can't breathe. You struggle to swim in a sea of depression and the uneasy feeling of not wanting to exist haunts your mind.
'Psych or the Priest' was born in the midst of this anxiety and depression. Not doing life particularly well and left asking am I the victim or the culprit. It is not a conclusion, nor an answer. It is simply the sitting in the rawness of life.
There is a much needed place for trying to resolve these tensions and deal with the issues but sometimes its ok just to sit and feel things.
Shot and Edited by the incredible Harry Blyth!
Acoustic/Electric Guitar, Harmonica and Lead Vocals: Michael Day
Bass and Backing Vocals: Rhyan Lyndon-James
Electric Guitar and Banjo: Benjamin Humphreys
Drums/Percussion: Dave Rajendram
Trumpet: Ryan Svendsen
Recording and Mix Engineer: Andrew Lawson at Debaser Studio
Mastering Engineer: Grammy Award winning William Bowden at King Willy Sounds Songwriter: Michael Day
Artwork/Photograph: Rhyan Lyndon-James

Shadows and Shapes

Psych or the Priest

Psych Or The Priest

‘Nan and Pop's house’ is a nostalgic folk song reminiscing about growing up and reflecting on childhood. Day's grandparents had a big impact on Him and His Nana's kindness and love still permeates His heart as He contemplates their life. The song also wrestles with how far away the past feels and the comfort which was so present as a child. It begs the question, 'where do we now find our comfort?'. 
The folky acoustic guitar with jangly reflective electric guitar creates a mood which brings memories to life. In line with a longing for the past, the trumpet croons of a more secure time. Day reflects on the times spent at His Grandparents, being scared of the lion roar that opens up many MGM films and finding comfort in the hugs of his Nana.   
Before the completion of the track, Day’s Grandparents passed away in 2023, within 3 days of each other. “From that point in time, the song really hit differently, playing it live or listening to recorded versions of it. It emphasised the aching of my heart for my Grandparents. I had hoped to finish it sooner, but somehow this experience has given the song a new kick. It’s hard to hear without tearing up.” This deep love of family and a longing to be reconciled with them, really sums up the track for Day. “I’ve never met anyone like my Nana, she went through the wars, she went through a rough relationship, and the whole time was concerned for others, despite her situation. That’s something I long to emulate, the love and care for others above oneself, is truly inspiring and I think is the definition of love.” 
The song was put together with Day and His band; it features Ben Humphreys on the electric guitar, Ryan Svendsen on the Trumpet, Rhyan Lyndon-James on Bass and Bvs, and Dave Rajendram on the Drums. Andy Lawson at Debaser Studio is the magic behind the recording and mix while Will at King Willy Studios is the mastering engineer. Robyn Paints is credited for the beautiful artwork, created from a picture from Day's grandparents property.
Paired with the beautifully crafted song, is a music video which was shot at Day’s Grandparents with real footage of His childhood at the same location. The film features Day reminiscing at His Grandparents property, juxtaposing a home full of life via archival footage, with an empty, lifeless house. The video was shot and edited by Rhyan Lyndon-James (Day’s Bassist) and Todd Pegrum.

Nan and Pop's house

‘Morning Coffee’ struggles with the reality of being an artistic person trying to make a living off art and support a family at the same time. It’s a reflection on what we value as a society. So much art is missing in today's world, and one could argue it’s a cause of the increase in depression. A visible representation of this ‘missing art’ can be found in today’s lack of architecture in new housing developments, amongst other things. What can fill our pockets over what is beautiful. This is the driving force behind so much of the modern day. You could argue whether or not it was better to be an artist in an earlier period but that is not the thought here. The thought is what philosophy drives us as human beings to get up every morning and do something. There was once a time, when people would spend a lifetime crafting a building because of beauty. 
“Reflecting on what drives us to do things, often makes me sad, because the dollar so often outweighs the beauty.” 
This reflection drove Michael to create ‘Morning Coffee’.

“I’ve worked a ton of jobs I hate. So often as an artist you’d hear or feel the ‘get a real job’ notion. However this begs the question: What is a real job? and Why do anything at all? After thinking about this for years, if your answer doesn’t contain beauty, then why bother.” 
The song concludes that this is something He can not not do. And it will be hard. 
“There’s something in me that demands a response of creativity. To create and to wonder. The order of my life is first towards supporting my family, to be a good husband and to be a good father. And under that, to my career. If I can earn a living that supports my family, albeit smaller than a 9-5, is it not better to create beauty than to fill my pockets?”

Morning Coffee reflects these thoughts with a pining guitar riff. Michael’s vocals reverberate as if in a dream, struggling to find a way to work it out. The drums equally echo adding to the dreamy feeling while a guitar simply strums wistfully away. The lead guitar influenced in part by John Mayer completes a longing solo for resolution while hanging in the struggle. 
Morning Coffee is out February 9th, 2024.

Morning Coffee

WA roots-rock-folk singer/songwriter, Michael Day is set to release their third single, Treetops.
A lush alt/folk track that combines both serenity and intensity, Treetops was recorded and produced by James Newhouse. The song showcases Day’s evolution as a songwriter and the amazing contribution his band make to his musical ideas.
“Treetops is an internal reflection on our society, but also my own feelings about how society runs as a meritocracy,” Day explains.

“We’re given our ‘worth’ by the things that we do. You’re considered invaluable if you do perceived good things and if you don’t do certain things you’re not really worth anything. It’s looking at how it can make us super prideful when we’re doing right and can also lead to anxiety when we’re feeling pretty crap because we’re not meeting standards that we either put on ourselves or that society puts on us.”

Treetops was written and recorded in 2020, certainly a year of reflection for many of us. Day maintained his creative energy but was wont to ponder his place in the whole scheme of things.

“I guess part of my own struggle is being a person who feels that they are more naturally creative rather than being suited to your typical 9-5 job,” he says. “It’s struggling with the feeling that if I had a 9-5 job, I’d be doing really great and that’d be awesome but then not meeting that could lead to some anxiety or depression, or those sorts of things.”

A reflective song for a reflective age, Treetops is released on February 26. The live launch for the single happens March 12 at Lyric’s Underground in Maylands with support from TBC. Pre-sale tickets are $10+bf via Oztix.com.au or $15 at the door on the night.

Treetops

Perth-Hills born Singer-Songwriter, Michael Day, is an Alt/Folk artist. Using his background in classical guitar and song-writing finesse, Michael creates technical folk pieces, rich in character and
full of introspection and ponder.
Michael Day exists as a solo artist and a 5 piece band, with driving rhythms, ambient guitar lines, twangy banjo parts and vocal harmonies.
2021 has seen Michael Day nominated for a WAM Song of the Year Award for their single ‘Storm’, Sell out their single launch at Lyrics Underground and, seen them play alongside Artists such as Coterie, Ash Carr-White, Jacob Wylde and Raymondouu.

Michael Day

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