Arts & Culture

Day Joy Shares “Not Anymore” Track Via The 405 | New Album ‘Great Satan, Mass Appeal’ Out Later This Year

“‘Not Anymore’ is an absolute stunner.”
– The 405
Day Joy, the project of Orlando based singer-songwriter Michael Serrin, has released a new single entitled “Not Anymore” via The 405. It will be featured on his first LP in 6 years entitled ‘Great Satan Mass Appeal’ out later this year.
Formed in 2013, Day Joy is the project of Orlando-based songwriter, Michael Serrin. Originally, Serrin wrote and recorded his sleepy melodic songs to help his partner sleep through episodic night terrors (hence the project’s ideologically opposite name). Soon after releasing the album Go to Sleep, Mess to critical acclaim, Serrin assembled a lineup of musicians to perform live and tour nationally.

After just one year of touring in support of their debut album, Day Joy disassembled following the tragic death of Serrin’s younger brother. Nearly four years passed as the Day Joy songwriter struggled to recover, “flattened” by the loss.

The forthcoming LP, “Great Satan, Mass Appeal” chronicles those troubled years walking the fine line between despondency and dimly-lit revelation. As the album attests, no topic is too grand for musing in a time of crisis. From the existential to the socio-political, the outside world of colliding ideas becomes the internal debate of what will really matter in the end.

Today Day Joy consists of a four-piece outfit: Michael Serrin on guitar and lead vocals, Greyson Charnock on bass and harmony vocals, Joey Davoli on piano, horns, and auxiliary percussion, and Noah Gordon on drums. They plan to tour and release their sophomore LP, “Great Satan, Mass Appeal” in the Spring of 2019.

Day Joy frontman Michael Serrin tracked out the earliest drafts of his sophomore LP wherever he could – quietly picking out guitar and piano lines in his Orlando apartment or tracking vocals overnight in the coffee shop he worked by day. The resultant recordings are rough around the edges. There are moments when you hear a train or motorcycle in the distant background. Yet the natural city ambiance works well with the organic sonic landscape of this record. The lo-fidelity recording process highlights the fragile realism of Serrin’s lyricism and moody reflections of trauma and love lost. The fragmented and emotional early recordings took their final form when Serrin teamed up with Orlando songwriter and engineer, Greyson Charnock of Old Familiar Sound.

After a long polishing process, the record was titled after its’ centerpiece, “Great Satan, Mass Appeal” – a song Serrin wrote on the night of his younger brother’s funeral. He laments the loss of life yet, even more, the loss of truth. This is the thematic territory in which the record resides – fumbling through the dark for an answer worth justifying life’s suffering.

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