M: They were ankle socks, they just –

T: The elastic broke and they just shot through the sky.

M: He blew us away and he’s pretty spot on with his takes. He’s super talented. We asked him to go cut it in the studio and we basically got the stems that same night or the next day and we already had the instrumental made, so we just put it together. It being summer in Brooklyn, we’re like “shit, this has to come out ASAP.” It is a reminiscent song, you’re reminiscing over the summer. So at the end of August, we thought that it would be perfect to put the song out. I don’t think we’ve ever had a song come together that quickly. Sometimes it’s a longer process – but this just kind of happened pretty much overnight. The power of the internet is crazy.

Q: You just kicked off on tour, what can fans expect from a live Young Bombs show?

M: Lots of energy.

T: A lot of socks flying through the sky. Everybody’s socks are gonna get knocked off.

M: Some people use confetti and CO2 and stuff but we use sock cannons.

T: The great thing is – if you’re a fan, you get to leave with a bunch of pairs of socks so you don’t even need to go to Walmart anymore or wherever you buy your socks. We provide them for the fans.

M: But for real – lots of energy, we love to have a good time.

T: A lot of energy and we like to mess up our songs a bit. So we’ll take another vocal from a song and throw it over one of our instrumentals or vice versa and we’ll take a vocal from one of our songs and put it over someone else’s beat. It can be super unpredictable and that’s the cool thing about live shows, you get something that’s not out there on Spotify or SoundCloud, which makes it unique to the show. It makes it enticing to come see us live.

Q: What has been your best festival experience to-date? Are there any festivals you’d like to play?

M: A lowkey one that we didn’t expect – I mean, we’ve played Lolla, Firefly, Shaky Beats; a bunch of these big American festivals but we played Festival D’ete in Quebec and it was the craziest crowd, the biggest crowd we’ve ever played for. It was wild – would love to do that again. That was a surprising one. I think one that we both would love to do and has always been on our bucket list is Tomorrowland. I think being electronic artists, it’s kind of like the holy grail of music festivals for dance acts.

T: I agree. When we started, we would watch Aviccii and Swedish House Mafia and all those guys play Tomorrowland and we were just like “one day we will be there” and we’re still saying “one day.” Hopefully that day comes soon.

Anything you want to share or add? 

The track was written in Nashville following a terrible date where Terez quickly penned “Cake” with the support of Tamara Laurel alongside Alexander Frieden and was co-produced with Internet Money – a record label and artist collective. “Cake” is a fun, super sweet revenge anthem filled with cheeky wordplay and a delicious melody.

With all original content – from the screen (visuals, TikTok spots and Twitch streams) to pen and paper (lyrics and music) – the trio are known for their fresh DIY approach. daysormay continue to follow the beat of their own drum on their forthcoming album Just Existing: 

Working with Canadian legend and Hot Hot Heat frontman Steve Bays (Steve Aoki, Diplo, The Killers) has instilled an even more individualistic creative force for their upcoming album – set for release on October 6th.

Q: How would you describe daysormay’s artistry?

We’ve always tried to stay true to ourselves and what we want first and foremost, regardless of what any outside influences or trends have to say at the time. I think that would be number one. We get bored really easily, so we’re always looking for something new to experiment with and mix into our sound. The idea is to always move forward, to never plateau, and to only look to the past if we’re learning from mistakes.

Q: Tell us about the creative process behind the single “Ego”:

Carson sent me the beat in the summer of 2018, it had like a latin style instrumental over it. I took everything off so it was just the drums, and I would add one or two elements every day. Some days I would add a sound, listen to it on loop for like two hours, and then take the sound back out and go to bed. I was very calm and focused, probably the most I’ve ever been. I had been listening to a lot of podcasts that were talking about songwriting and creativity, and I was trying to apply as many different approaches as I could to this one beat, and see which one worked the best. There was no pressure, no rush, no nothing. It was great. Once I finished the vocals I brought it back to Carson and Nolan, and we built the instrumental out from there. We toured it live for about a year before recording the final version, actually going from touring right into the studio. I think playing it live for that long before finalizing it made a huge difference in the energy. It’s basically tailored to live shows.

Q: What inspired you to step away from your typical voice and how did you channel the most “un-Aidan” version of yourself for this track? What podcasts and songs had an influence on the outcome?

I was messing with writing from different POVs, as if I was someone else. I really enjoyed the freedom I got from feeling like I could say anything I wanted and that I could say it in any way I wanted, cause it “technically” wasn’t coming from me. It was more unhinged I guess, that was what made it feel so “un-Aidan”, it let me let go of a lot of my usual inhibitions. At the time I was listening to a podcast called Song Exploder, where artists pick apart their songs and talk about how they made them. There’s always such great insight about creativity in every episode, I was super inspired every day. The episode that really sparked Ego’s concept was Kimbra talking about how she made Top Of The World, which actually plays with the different character POVs as well. I was also listening to a podcast called Watching the Throne, which is basically breaking down and analyzing Kanye albums. At the time I was listening to the one about Yeezus.

Q: How did the visual concept for the music video come about?

We really just wanted to smash stuff. It was pretty improvised to be honest. We had a general idea of what we wanted to do, but most of it came together on set, just bouncing ideas off of Christian and Titouan (who shot and codirected the video with us). We wanted it to be very in your face, looking right down the lens. As blunt as possible, to get the words across.

Q: What can we expect from your forthcoming album Just Existing?

I like to think of it as an introduction to daysormay. Kind of like bringing you up to speed on where we’re at stylistically. Cause some of these ideas are like two years old, and some are brand new. So I think there’s an audible evolution over the course of the album where you can hear us shifting our sound and getting more and more up to where we’re at now. In my opinion it’s a really cool mix of what kind of songwriters we were before, with songs like “Role Model,” and what we are now. I’m stoked to see what the reaction is.

Q: You're known for your DIY approach. What advice would you give to other artists who are aspiring to be fully hands-on with their own projects?

Over the past year I’ve had two pieces of advice stuck in my head that I keep coming back to. Number one is: always trust your gut. Listen to your instinctual reaction to something. Cause it’s easy to let certain things slide once you get used to them, but if something sticks out to you right away, listen to that. Number two is from Kamasi Washington. He said: “Be stubborn in your goals, but flexible in how you get there.” That’s helped a lot in decision making, for me.

Q: What’s next for daysormay?

We’re finishing up Just Existing at the moment, and working on the second album whenever we can in between. The goal is to keep meeting new people, keep improving, putting out more music, and hopefully touring as much as we can. We’re super excited for the future and can’t wait to show everyone what we’ve been working on for the past few years.

In 2020, June released “Say Too Much” – a collaboration with Scott Chesak (All American Rejects) which has garnered over 120,000 streams on Spotify. Prior to that she's played Boots & Hearts, and shared the stage with the likes of Dierks Bentley, Brett Kissel, Terri Clark, and Corb Lund. Her latest release follows "Heart Drunk" which is currently being played on CBC SIRIUS XM Country and earned her a finalist spot on the Jim Beam Virtual National Talent Search.